This video of Kathleen Raine, a renowned Blake scholar, talking about Blake can be viewed on youtube. Seen in the video along with Raine is the actor who played Blake in the production about Thomas Paine and William Blake. The actor is Mark Rylance who is known for being the Artistic Director of the Globe Theater.
Video - 'God is the Imagination'
Seeing Kathleen reminds me of how Larry first discovered Kathleen Raine's Blake and Tradition when he was in the sitting room of the National Gallery in Washington DC waiting for me to finish looking at pictures. The Melons were instrumental in envisioning and financing the museum and also sponsored the publication of Raine's book. So that may explain why the book was available there. After that we would sometimes go to the National Gallery just so Larry could read the book, since our local Arlington library didn't have a copy. One cold and rainy Saturday morning we went to the museum but were disappointed - the sitting room was overflowing with anti-war protesters who were looking for a warm spot to dry their clothes and feed their babies. A friend who had a friend who had borrowing privileges at the Library of Congress, borrowed the book for us so that Larry could get a longer look at it.
Read Kathleen Raine's book online.
Of this Title Page of Jerusalem, Raine says: "The soul is depicted under the classical emblem of Psyche, the butterfly. The natural universe of sun, moon, and stars is represented as 'dust on the Fly's wing' of the soul, with whose life they live. The figure at the top of the plate is, following another traditional emblem, bee-winged."
Showing posts with label Raine. Show all posts
Showing posts with label Raine. Show all posts
Sunday, February 28, 2010
Monday, November 2, 2009
Early Influences on Blake
There's an uncanny similarity between the culture Blake
was born into and the present: The majority culture was
radically materialistic, while an alternative (New Age) one
thrived, especially in religious circles.
Blake's parents were Swedenborgians; his mother had been a
Moravian; these two radically dissenting sects had their due
influence on the young Blake's religious outlook.
Songs of Innocence
Blake enjoyed a happy childhood, with remarkably liberal
and permissive parents; he started school at the appropriate
age, but his academic career was a short one: when the
schoolmaster birched a fellow pupil, little William made a
quick exit and never returned.
Like many such 'dropouts' Blake became an autodidact; he
probably knew more than any person alive of the "perennial
philosophy", the wisdom of the ages. It was a wisdom that
the materialistic culture had turned its back on with the
excessive secularism of the Enlightenment.
In late 18th century England School was for the middle
class, a station to which Blake always aspired. But outside
the middle class boys were generally apprenticed; Blake
became an apprentice to a well regarded engraver.
Thereafter he made his primary income as an engraver;
a great many of his poems were engraved as illuminated
poetry, which Blake practically invented.
Husbands in general tend to be deeply influenced by
their wives, and Blake was no exception. He married an
illiterate woman, but she soon became literate; for 40
years Catherine Blake helped William with his creations and
gave him unlimited encouragement and emotional support.
Re intellectual influences the Bible was first and foremost;
it's hard to find a page of Blake's poetry without a
quotation or at least allusion to some biblical idea.
Second to the Bible is what I called above the 'perennial
philosophy', what Kathleen Raine called the 'canon of the
western esoteric tradition.' It includes an enormous variety
of written material. In a letter he wrote to John Flaxman
when he was 33 Blake only touched the surface:
"Now my lot in the Heavens is this; Milton lovd me in
childhood & shewd me his face Ezra came with Isaiah the
Prophet, but Shakespeare in riper years gave me his hand
Paracelsus & Behmen [Boehme] appeard to me. terrors
appeard in the Heavens above."
One might add Spencer, Dante, and a host of others. Blake
was an inveterate and omnivorous reader; you have to
wonder how he could have accessed all the stuff to which
he had obviously been exposed.
We all encounter influences, both positive and negative. The
primary negative influence Blake felt was the prevailing
materialism; he referred to it as Bacon, Newton and Locke.
was born into and the present: The majority culture was
radically materialistic, while an alternative (New Age) one
thrived, especially in religious circles.
Blake's parents were Swedenborgians; his mother had been a
Moravian; these two radically dissenting sects had their due
influence on the young Blake's religious outlook.
Songs of Innocence
Blake enjoyed a happy childhood, with remarkably liberal
and permissive parents; he started school at the appropriate
age, but his academic career was a short one: when the
schoolmaster birched a fellow pupil, little William made a
quick exit and never returned.
Like many such 'dropouts' Blake became an autodidact; he
probably knew more than any person alive of the "perennial
philosophy", the wisdom of the ages. It was a wisdom that
the materialistic culture had turned its back on with the
excessive secularism of the Enlightenment.
In late 18th century England School was for the middle
class, a station to which Blake always aspired. But outside
the middle class boys were generally apprenticed; Blake
became an apprentice to a well regarded engraver.
Thereafter he made his primary income as an engraver;
a great many of his poems were engraved as illuminated
poetry, which Blake practically invented.
Husbands in general tend to be deeply influenced by
their wives, and Blake was no exception. He married an
illiterate woman, but she soon became literate; for 40
years Catherine Blake helped William with his creations and
gave him unlimited encouragement and emotional support.
Re intellectual influences the Bible was first and foremost;
it's hard to find a page of Blake's poetry without a
quotation or at least allusion to some biblical idea.
Second to the Bible is what I called above the 'perennial
philosophy', what Kathleen Raine called the 'canon of the
western esoteric tradition.' It includes an enormous variety
of written material. In a letter he wrote to John Flaxman
when he was 33 Blake only touched the surface:
"Now my lot in the Heavens is this; Milton lovd me in
childhood & shewd me his face Ezra came with Isaiah the
Prophet, but Shakespeare in riper years gave me his hand
Paracelsus & Behmen [Boehme] appeard to me. terrors
appeard in the Heavens above."
One might add Spencer, Dante, and a host of others. Blake
was an inveterate and omnivorous reader; you have to
wonder how he could have accessed all the stuff to which
he had obviously been exposed.
We all encounter influences, both positive and negative. The
primary negative influence Blake felt was the prevailing
materialism; he referred to it as Bacon, Newton and Locke.
Early Influences on Blake
There's an uncanny similarity between the culture Blake
was born into and the present: The majority culture was
radically materialistic, while an alternative (New Age) one
thrived, especially in religious circles.
Blake's parents were Swedenborgians; his mother had been a
Moravian; these two radically dissenting sects had their due
influence on the young Blake's religious outlook.
Songs of Innocence
Blake enjoyed a happy childhood, with remarkably liberal
and permissive parents; he started school at the appropriate
age, but his academic career was a short one: when the
schoolmaster birched a fellow pupil, little William made a
quick exit and never returned.
Like many such 'dropouts' Blake became an autodidact; he
probably knew more than any person alive of the "perennial
philosophy", the wisdom of the ages. It was a wisdom that
the materialistic culture had turned its back on with the
excessive secularism of the Enlightenment.
In late 18th century England School was for the middle
class, a station to which Blake always aspired. But outside
the middle class boys were generally apprenticed; Blake
became an apprentice to a well regarded engraver.
Thereafter he made his primary income as an engraver;
a great many of his poems were engraved as illuminated
poetry, which Blake practically invented.
Husbands in general tend to be deeply influenced by
their wives, and Blake was no exception. He married an
illiterate woman, but she soon became literate; for 40
years Catherine Blake helped William with his creations and
gave him unlimited encouragement and emotional support.
Re intellectual influences the Bible was first and foremost;
it's hard to find a page of Blake's poetry without a
quotation or at least allusion to some biblical idea.
Second to the Bible is what I called above the 'perennial
philosophy', what Kathleen Raine called the 'canon of the
western esoteric tradition.' It includes an enormous variety
of written material. In a letter he wrote to John Flaxman
when he was 33 Blake only touched the surface:
"Now my lot in the Heavens is this; Milton lovd me in
childhood & shewd me his face Ezra came with Isaiah the
Prophet, but Shakespeare in riper years gave me his hand
Paracelsus & Behmen [Boehme] appeard to me. terrors
appeard in the Heavens above."
One might add Spencer, Dante, and a host of others. Blake
was an inveterate and omnivorous reader; you have to
wonder how he could have accessed all the stuff to which
he had obviously been exposed.
We all encounter influences, both positive and negative. The
primary negative influence Blake felt was the prevailing
materialism; he referred to it as Bacon, Newton and Locke.
was born into and the present: The majority culture was
radically materialistic, while an alternative (New Age) one
thrived, especially in religious circles.
Blake's parents were Swedenborgians; his mother had been a
Moravian; these two radically dissenting sects had their due
influence on the young Blake's religious outlook.
Songs of Innocence
Blake enjoyed a happy childhood, with remarkably liberal
and permissive parents; he started school at the appropriate
age, but his academic career was a short one: when the
schoolmaster birched a fellow pupil, little William made a
quick exit and never returned.
Like many such 'dropouts' Blake became an autodidact; he
probably knew more than any person alive of the "perennial
philosophy", the wisdom of the ages. It was a wisdom that
the materialistic culture had turned its back on with the
excessive secularism of the Enlightenment.
In late 18th century England School was for the middle
class, a station to which Blake always aspired. But outside
the middle class boys were generally apprenticed; Blake
became an apprentice to a well regarded engraver.
Thereafter he made his primary income as an engraver;
a great many of his poems were engraved as illuminated
poetry, which Blake practically invented.
Husbands in general tend to be deeply influenced by
their wives, and Blake was no exception. He married an
illiterate woman, but she soon became literate; for 40
years Catherine Blake helped William with his creations and
gave him unlimited encouragement and emotional support.
Re intellectual influences the Bible was first and foremost;
it's hard to find a page of Blake's poetry without a
quotation or at least allusion to some biblical idea.
Second to the Bible is what I called above the 'perennial
philosophy', what Kathleen Raine called the 'canon of the
western esoteric tradition.' It includes an enormous variety
of written material. In a letter he wrote to John Flaxman
when he was 33 Blake only touched the surface:
"Now my lot in the Heavens is this; Milton lovd me in
childhood & shewd me his face Ezra came with Isaiah the
Prophet, but Shakespeare in riper years gave me his hand
Paracelsus & Behmen [Boehme] appeard to me. terrors
appeard in the Heavens above."
One might add Spencer, Dante, and a host of others. Blake
was an inveterate and omnivorous reader; you have to
wonder how he could have accessed all the stuff to which
he had obviously been exposed.
We all encounter influences, both positive and negative. The
primary negative influence Blake felt was the prevailing
materialism; he referred to it as Bacon, Newton and Locke.
Tuesday, September 29, 2009
Circle of Destiny II
The last post included a link to the Arlington Tempera. You may see it as an excellent portrayal of the Circle of Destiny.
One of the common names for the picture is The Sea of Time and Space. However Damon suggested The Circle of Life as a more appropriate term.
The sea in the picture is only one of several vital scenes; it occurs in the left foreground. The right hand part portrays the Cave of the Nymphs, found in the 13th book of the Odyssey. In fact it's from an interpretation of the cave by Porphyry, a 3rd century a Neoplatonist philosopher.
The upper left portrays Eternity. The center shows two prominent characters. The man kneeling on the shore has been given several names: Odysseus by Kathleen Raine, Luvah by Damon, Albion/Jesus by Digby, or better yet, Everyman (you and I). He has gotten close to completion of the circle of destiny; without looking at the sea he is throwing the girdle of Leucothea which she had lent him to be able to swim ashore (Blake used Book 5 of the Odyssey for this feature).
Behind 'Everyman' stands a woman, perhaps Athene (Raine), Vala (Damon), the anima (Digby). (This shows how Blake says different things to different people -- much like the Bible!)
On the right side of the picture there's an image you might imagine as a double escalator with the right side going down and the left up. Down the northern come the souls with a hankering for mortal life. Up the southern may go Everyman:
"when once he did descry
the immortal man who cannot die
Through evening shades he hastes away
to close the labors of his day."
We can only suppose that Everyman, responding to the radiant woman's signal, looked up and moved!
There's a lot more to the circle of destiny; if anyone shows an interest, I'll be glad to expand on it.
Tell me what you think.
One of the common names for the picture is The Sea of Time and Space. However Damon suggested The Circle of Life as a more appropriate term.
The sea in the picture is only one of several vital scenes; it occurs in the left foreground. The right hand part portrays the Cave of the Nymphs, found in the 13th book of the Odyssey. In fact it's from an interpretation of the cave by Porphyry, a 3rd century a Neoplatonist philosopher.
The upper left portrays Eternity. The center shows two prominent characters. The man kneeling on the shore has been given several names: Odysseus by Kathleen Raine, Luvah by Damon, Albion/Jesus by Digby, or better yet, Everyman (you and I). He has gotten close to completion of the circle of destiny; without looking at the sea he is throwing the girdle of Leucothea which she had lent him to be able to swim ashore (Blake used Book 5 of the Odyssey for this feature).
Behind 'Everyman' stands a woman, perhaps Athene (Raine), Vala (Damon), the anima (Digby). (This shows how Blake says different things to different people -- much like the Bible!)
On the right side of the picture there's an image you might imagine as a double escalator with the right side going down and the left up. Down the northern come the souls with a hankering for mortal life. Up the southern may go Everyman:
"when once he did descry
the immortal man who cannot die
Through evening shades he hastes away
to close the labors of his day."
We can only suppose that Everyman, responding to the radiant woman's signal, looked up and moved!
There's a lot more to the circle of destiny; if anyone shows an interest, I'll be glad to expand on it.
Tell me what you think.
Circle of Destiny II
The last post included a link to the Arlington Tempera. You may see it as an excellent portrayal of the Circle of Destiny.
One of the common names for the picture is The Sea of Time and Space. However Damon suggested The Circle of Life as a more appropriate term.
The sea in the picture is only one of several vital scenes; it occurs in the left foreground. The right hand part portrays the Cave of the Nymphs, found in the 13th book of the Odyssey. In fact it's from an interpretation of the cave by Porphyry, a 3rd century a Neoplatonist philosopher.
The upper left portrays Eternity. The center shows two prominent characters. The man kneeling on the shore has been given several names: Odysseus by Kathleen Raine, Luvah by Damon, Albion/Jesus by Digby, or better yet, Everyman (you and I). He has gotten close to completion of the circle of destiny; without looking at the sea he is throwing the girdle of Leucothea which she had lent him to be able to swim ashore (Blake used Book 5 of the Odyssey for this feature).
Behind 'Everyman' stands a woman, perhaps Athene (Raine), Vala (Damon), the anima (Digby). (This shows how Blake says different things to different people -- much like the Bible!)
On the right side of the picture there's an image you might imagine as a double escalator with the right side going down and the left up. Down the northern come the souls with a hankering for mortal life. Up the southern may go Everyman:
"when once he did descry
the immortal man who cannot die
Through evening shades he hastes away
to close the labors of his day."
We can only suppose that Everyman, responding to the radiant woman's signal, looked up and moved!
There's a lot more to the circle of destiny; if anyone shows an interest, I'll be glad to expand on it.
Tell me what you think.
One of the common names for the picture is The Sea of Time and Space. However Damon suggested The Circle of Life as a more appropriate term.
The sea in the picture is only one of several vital scenes; it occurs in the left foreground. The right hand part portrays the Cave of the Nymphs, found in the 13th book of the Odyssey. In fact it's from an interpretation of the cave by Porphyry, a 3rd century a Neoplatonist philosopher.
The upper left portrays Eternity. The center shows two prominent characters. The man kneeling on the shore has been given several names: Odysseus by Kathleen Raine, Luvah by Damon, Albion/Jesus by Digby, or better yet, Everyman (you and I). He has gotten close to completion of the circle of destiny; without looking at the sea he is throwing the girdle of Leucothea which she had lent him to be able to swim ashore (Blake used Book 5 of the Odyssey for this feature).
Behind 'Everyman' stands a woman, perhaps Athene (Raine), Vala (Damon), the anima (Digby). (This shows how Blake says different things to different people -- much like the Bible!)
On the right side of the picture there's an image you might imagine as a double escalator with the right side going down and the left up. Down the northern come the souls with a hankering for mortal life. Up the southern may go Everyman:
"when once he did descry
the immortal man who cannot die
Through evening shades he hastes away
to close the labors of his day."
We can only suppose that Everyman, responding to the radiant woman's signal, looked up and moved!
There's a lot more to the circle of destiny; if anyone shows an interest, I'll be glad to expand on it.
Tell me what you think.
Wednesday, September 2, 2009
Read Blake or About Blake
People interested in Blake are more apt to read
about Blake than to read Blake. Reading The Four
Zoas, Milton, or Jerusalem are awesome undertakings.
Until you've begun to understand the man's language,
it's a losing proposition. There's a core set of
metaphors that he used repeatedly, although like all
metaphors his are subject to various entonations, and
often used for an object or its opposite.
To enable intelligent reading of the major prophecies
there is a great abundance of interpretations of his
works. Where to begin??? Those of us who have made a
few steps in that direction can perhaps give a bit of
guidance to the beginning student.
Northrup Frye's Fearful Symmetry was the work that
made me a life long lover of Blake's poetry. It's not
easy; I read it five times before I was able to get
more than a few glimmers of light. But it's very
rewarding; you're likely smarter than me, in which
case one or two readings may get you well into the
big poems.
Frye was a celebrated literature critique; after
finishing Fearful Symmetry he said that if he had it
to do over, he would have written more of an
introduction than what he actually did.
The one who gave the simplest introduction for me
was Milton Percival's Circle of Destiny; it's more
systematic and more elementary.
But Kathleen Raine's Blake and Tradition was what made
me a real enthusiast. That's the most easily readable
one, and it's filled with some of Blake's loveliest
pictures. Unfortunately Blake and Tradition is out of
print now, but a fairly good substitute may be found
in her little book, Blake and Antiquity.
Put any books recommended here in Amazon's website,
and you'll find they may have an advanced price, but
page down and you most often see other copies (used
or new) on sale much more cheaply (that's the virtue
of Amazon's farm system).
There is also an amazing amount of valuable information
on line; and this website is here to help you with
any questions you may have.
Good luck with your study of William Blake.
about Blake than to read Blake. Reading The Four
Zoas, Milton, or Jerusalem are awesome undertakings.
Until you've begun to understand the man's language,
it's a losing proposition. There's a core set of
metaphors that he used repeatedly, although like all
metaphors his are subject to various entonations, and
often used for an object or its opposite.
To enable intelligent reading of the major prophecies
there is a great abundance of interpretations of his
works. Where to begin??? Those of us who have made a
few steps in that direction can perhaps give a bit of
guidance to the beginning student.
Northrup Frye's Fearful Symmetry was the work that
made me a life long lover of Blake's poetry. It's not
easy; I read it five times before I was able to get
more than a few glimmers of light. But it's very
rewarding; you're likely smarter than me, in which
case one or two readings may get you well into the
big poems.
Frye was a celebrated literature critique; after
finishing Fearful Symmetry he said that if he had it
to do over, he would have written more of an
introduction than what he actually did.
The one who gave the simplest introduction for me
was Milton Percival's Circle of Destiny; it's more
systematic and more elementary.
But Kathleen Raine's Blake and Tradition was what made
me a real enthusiast. That's the most easily readable
one, and it's filled with some of Blake's loveliest
pictures. Unfortunately Blake and Tradition is out of
print now, but a fairly good substitute may be found
in her little book, Blake and Antiquity.
Put any books recommended here in Amazon's website,
and you'll find they may have an advanced price, but
page down and you most often see other copies (used
or new) on sale much more cheaply (that's the virtue
of Amazon's farm system).
There is also an amazing amount of valuable information
on line; and this website is here to help you with
any questions you may have.
Good luck with your study of William Blake.
Read Blake or About Blake
People interested in Blake are more apt to read
about Blake than to read Blake. Reading The Four
Zoas, Milton, or Jerusalem are awesome undertakings.
Until you've begun to understand the man's language,
it's a losing proposition. There's a core set of
metaphors that he used repeatedly, although like all
metaphors his are subject to various entonations, and
often used for an object or its opposite.
To enable intelligent reading of the major prophecies
there is a great abundance of interpretations of his
works. Where to begin??? Those of us who have made a
few steps in that direction can perhaps give a bit of
guidance to the beginning student.
Northrup Frye's Fearful Symmetry was the work that
made me a life long lover of Blake's poetry. It's not
easy; I read it five times before I was able to get
more than a few glimmers of light. But it's very
rewarding; you're likely smarter than me, in which
case one or two readings may get you well into the
big poems.
Frye was a celebrated literature critique; after
finishing Fearful Symmetry he said that if he had it
to do over, he would have written more of an
introduction than what he actually did.
The one who gave the simplest introduction for me
was Milton Percival's Circle of Destiny; it's more
systematic and more elementary.
But Kathleen Raine's Blake and Tradition was what made
me a real enthusiast. That's the most easily readable
one, and it's filled with some of Blake's loveliest
pictures. Unfortunately Blake and Tradition is out of
print now, but a fairly good substitute may be found
in her little book, Blake and Antiquity.
Put any books recommended here in Amazon's website,
and you'll find they may have an advanced price, but
page down and you most often see other copies (used
or new) on sale much more cheaply (that's the virtue
of Amazon's farm system).
There is also an amazing amount of valuable information
on line; and this website is here to help you with
any questions you may have.
Good luck with your study of William Blake.
about Blake than to read Blake. Reading The Four
Zoas, Milton, or Jerusalem are awesome undertakings.
Until you've begun to understand the man's language,
it's a losing proposition. There's a core set of
metaphors that he used repeatedly, although like all
metaphors his are subject to various entonations, and
often used for an object or its opposite.
To enable intelligent reading of the major prophecies
there is a great abundance of interpretations of his
works. Where to begin??? Those of us who have made a
few steps in that direction can perhaps give a bit of
guidance to the beginning student.
Northrup Frye's Fearful Symmetry was the work that
made me a life long lover of Blake's poetry. It's not
easy; I read it five times before I was able to get
more than a few glimmers of light. But it's very
rewarding; you're likely smarter than me, in which
case one or two readings may get you well into the
big poems.
Frye was a celebrated literature critique; after
finishing Fearful Symmetry he said that if he had it
to do over, he would have written more of an
introduction than what he actually did.
The one who gave the simplest introduction for me
was Milton Percival's Circle of Destiny; it's more
systematic and more elementary.
But Kathleen Raine's Blake and Tradition was what made
me a real enthusiast. That's the most easily readable
one, and it's filled with some of Blake's loveliest
pictures. Unfortunately Blake and Tradition is out of
print now, but a fairly good substitute may be found
in her little book, Blake and Antiquity.
Put any books recommended here in Amazon's website,
and you'll find they may have an advanced price, but
page down and you most often see other copies (used
or new) on sale much more cheaply (that's the virtue
of Amazon's farm system).
There is also an amazing amount of valuable information
on line; and this website is here to help you with
any questions you may have.
Good luck with your study of William Blake.
Tuesday, August 25, 2009
ROBES OF BLOOD
Larry wrote: KNEELING MAN AT THE SHORE
The features and meanings in the
Arlington Tempera are subject to various interpretations; that's true in fact of all works of art. In particular color representations of this picture reveal things lost to monochrome viewers. The kneeling man at the shore wore a crimson robe. The red robe contributes to Damon (A BLAKE DICTIONARY) seeing the red-robed man kneeling on the shore as Luvah, the Zoa who represented the emotions to Blake. Raine viewing the scene from the Greek mythological perspective, saw him as Odysseus, Digby (SYMBOL AND IMAGE IN WILLIAM BLAKE) saw him in a function of Blake's larger mythological structure as Albion and Jesus who represent the total Humanity.
The contrast between Raine's (BLAKE AND TRADITION) and Digby's interpretations of the picture show how full is the meaning conveyed by the artist to two scholars in very different disciplines. The Greek origin of the setting comes out in Raine's identification of the images(and the total story) as very clearly an adaptation of the Odyssey. Cave of the Nymphs Meanwhile the same images lend themselves in a more direct sense to the system that Blake created; to a great degree a psychological one. (Digby perceived the Greek story told here in strictly Jungian terms.)
In all likelihood Blake portrayed this image to convey all three facets of the complex character: the red robed man on the shore should be seen as by Damon as Luvah; and as by Raine as Odysseus; and as by Digby as Albion and Jesus. Since the kneeling man is wearing a red robe he suggests to Blake readers a recurring image whether we see him as Odysseus, Luvah, Jesus or Albion.
Blake used 'robes of blood' as a major symbol in his poetry. Look at:
FOUR ZOAS 1-13.8-9; E308:
"Eternity appeard above them as One Man infoldedIn Luvah[s] ROBES OF BLOOD & bearing all his afflictions"
FOUR ZOAS 2-32.13-14; E321
"The heavens were closd and spirits mournd their bondage night and day And the Divine Vision appeard in Luvahs ROBES OF BLOOD"
FOUR ZOAS 7a-87.43-4; E369|
"Turn inwardly thine Eyes & there behold the Lamb of God Clothed in Luvahs ROBES OF BLOOD descending to redeem"
Blake undoubted knew well the account in Rev. 19 of the appearance of the Christ at the end times, including verse 13: "And he was clothed with a VESTURE DIPPED IN BLOOD: and his name is called The Word of God." (KJV)
And finally we come to plate 42 in MILTON including:
"Then as a Moony Ark Ololon descended to Felphams Vale
In clouds of blood, in streams of gore, with dreadful thunderings
Into the Fires of Intellect that rejoic'd in Felphams Vale
Around the Starry Eight: with one accord the Starry Eight became
One Man Jesus the Saviour. wonderful! round his limbs
The Clouds of Ololon folded as a GARMENT DIPPED IN BLOOD
Written within & without in woven letters: & the Writing
Is the Divine Revelation in the Litteral expression:
A Garment of War, I heard it namd the Woof of Six Thousand Years"
We may suppose that Digby's acquaintance with these accounts led him to name the man on the shore Albion - Jesus.
Would anyone care to exegete this last passage? (Damon suggested spiritual war)
Ellie's reply:
I've heard it said that life is a struggle. We can't expect to get through it without being battered and bruised. In our daily relationships we endure wounds and inflict wounds, inadvertently as well as deliberately. Most of our wounds are to our psyches, both our own and those whom we attack through our own unconscious defensiveness or projection.So we ourselves can be seen as the bloodied robes. Our psyches as well as our bodies are 'a clothing for the Soul Divine'. Joy and Woe In as far as we can see ourselves as members of the 'body of Christ'(1st Corinthians 12:27), as participants in the Divine Humanity which Blake called Albion, we also are the bloodied robes which Blake spoke of in regard to Luvah and Jesus. Sacred though these raiments be, they can be washed and mended and rewoven into unsullied garments suitable for entry into Jerusalem.
ROBES OF BLOOD
Larry wrote: KNEELING MAN AT THE SHORE
The features and meanings in the
Arlington Tempera are subject to various interpretations; that's true in fact of all works of art. In particular color representations of this picture reveal things lost to monochrome viewers. The kneeling man at the shore wore a crimson robe. The red robe contributes to Damon (A BLAKE DICTIONARY) seeing the red-robed man kneeling on the shore as Luvah, the Zoa who represented the emotions to Blake. Raine viewing the scene from the Greek mythological perspective, saw him as Odysseus, Digby (SYMBOL AND IMAGE IN WILLIAM BLAKE) saw him in a function of Blake's larger mythological structure as Albion and Jesus who represent the total Humanity.
The contrast between Raine's (BLAKE AND TRADITION) and Digby's interpretations of the picture show how full is the meaning conveyed by the artist to two scholars in very different disciplines. The Greek origin of the setting comes out in Raine's identification of the images(and the total story) as very clearly an adaptation of the Odyssey. Cave of the Nymphs Meanwhile the same images lend themselves in a more direct sense to the system that Blake created; to a great degree a psychological one. (Digby perceived the Greek story told here in strictly Jungian terms.)
In all likelihood Blake portrayed this image to convey all three facets of the complex character: the red robed man on the shore should be seen as by Damon as Luvah; and as by Raine as Odysseus; and as by Digby as Albion and Jesus. Since the kneeling man is wearing a red robe he suggests to Blake readers a recurring image whether we see him as Odysseus, Luvah, Jesus or Albion.
Blake used 'robes of blood' as a major symbol in his poetry. Look at:
FOUR ZOAS 1-13.8-9; E308:
"Eternity appeard above them as One Man infoldedIn Luvah[s] ROBES OF BLOOD & bearing all his afflictions"
FOUR ZOAS 2-32.13-14; E321
"The heavens were closd and spirits mournd their bondage night and day And the Divine Vision appeard in Luvahs ROBES OF BLOOD"
FOUR ZOAS 7a-87.43-4; E369|
"Turn inwardly thine Eyes & there behold the Lamb of God Clothed in Luvahs ROBES OF BLOOD descending to redeem"
Blake undoubted knew well the account in Rev. 19 of the appearance of the Christ at the end times, including verse 13: "And he was clothed with a VESTURE DIPPED IN BLOOD: and his name is called The Word of God." (KJV)
And finally we come to plate 42 in MILTON including:
"Then as a Moony Ark Ololon descended to Felphams Vale
In clouds of blood, in streams of gore, with dreadful thunderings
Into the Fires of Intellect that rejoic'd in Felphams Vale
Around the Starry Eight: with one accord the Starry Eight became
One Man Jesus the Saviour. wonderful! round his limbs
The Clouds of Ololon folded as a GARMENT DIPPED IN BLOOD
Written within & without in woven letters: & the Writing
Is the Divine Revelation in the Litteral expression:
A Garment of War, I heard it namd the Woof of Six Thousand Years"
We may suppose that Digby's acquaintance with these accounts led him to name the man on the shore Albion - Jesus.
Would anyone care to exegete this last passage? (Damon suggested spiritual war)
Ellie's reply:
I've heard it said that life is a struggle. We can't expect to get through it without being battered and bruised. In our daily relationships we endure wounds and inflict wounds, inadvertently as well as deliberately. Most of our wounds are to our psyches, both our own and those whom we attack through our own unconscious defensiveness or projection.So we ourselves can be seen as the bloodied robes. Our psyches as well as our bodies are 'a clothing for the Soul Divine'. Joy and Woe In as far as we can see ourselves as members of the 'body of Christ'(1st Corinthians 12:27), as participants in the Divine Humanity which Blake called Albion, we also are the bloodied robes which Blake spoke of in regard to Luvah and Jesus. Sacred though these raiments be, they can be washed and mended and rewoven into unsullied garments suitable for entry into Jerusalem.
Saturday, May 26, 2007
The Immortal Man
It was early morning; I sat in the breakfast room reading the paper. Then I turned to Kathleen Raines' Blake and Antiquity. It led to some deep thoughts about life, death-- the various meanings of those two words, and especially how much Blake's poetry and pictures parallel Eastern Religion. Suddenly these two verses from Gates of Paradise popped into my head (click on Of the Gates):
13. But when once I did descry
The Immortal Man that cannot die,
14. Thro' evening shades I haste away
To close the labours of my day.
(Should this go on the chapter on Poetry or the chapter on Myth?)
Blake frequently gives us the fundamental truths of life and death, but clothed in a symbology that we have to learn to get the full impact.
13. But when once I did descry
The Immortal Man that cannot die,
14. Thro' evening shades I haste away
To close the labours of my day.
(Should this go on the chapter on Poetry or the chapter on Myth?)
Blake frequently gives us the fundamental truths of life and death, but clothed in a symbology that we have to learn to get the full impact.
The Immortal Man
It was early morning; I sat in the breakfast room reading the paper. Then I turned to Kathleen Raines' Blake and Antiquity. It led to some deep thoughts about life, death-- the various meanings of those two words, and especially how much Blake's poetry and pictures parallel Eastern Religion. Suddenly these two verses from Gates of Paradise popped into my head (click on Of the Gates):
13. But when once I did descry
The Immortal Man that cannot die,
14. Thro' evening shades I haste away
To close the labours of my day.
(Should this go on the chapter on Poetry or the chapter on Myth?)
Blake frequently gives us the fundamental truths of life and death, but clothed in a symbology that we have to learn to get the full impact.
13. But when once I did descry
The Immortal Man that cannot die,
14. Thro' evening shades I haste away
To close the labours of my day.
(Should this go on the chapter on Poetry or the chapter on Myth?)
Blake frequently gives us the fundamental truths of life and death, but clothed in a symbology that we have to learn to get the full impact.
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