Blake's Vision of God

Of all the Christian spiritual leaders of the past 200
years this British poet would be placed near the top
by any enlightened Christian. God was the
primary theme and motif of his poetry, his pictures,
and his life. His poetry and pictures contained his
revelations of the reality of life, ulitimate reality,
which we call God.

At three he ran screaming to his mother after the
sight of a grim punishing God in his window. A few
years later a similar vision embraced a roomful of
angels. Brought up in a Swedenburg and/or
Moravian climate he escaped the common fallacies
that go by the name of Christian orthodoxy. But the
first half of his life he occupied wrestling with the
Old Testament God.

With The Marriage of Heaven and Hell
he inverted the conventional values of good,
obedient, unimaginative church goers (more likely
to idolize and follow their minister than their God).
Blake called them angels, and called those who ask
questions, who think independently, who experiment, devils.

With Songs of Innocence and Experience he
portrayed first the childlike, who have not met a
judging God, and second those who have tasted that fateful experience.

In his prophetic books Blake exhaustively pictured
the judging God, the Rulemaker and Enforcer
worshipped today by 'fundamentalist'
Christians and Muslims.

Through the years Blake gradually got free from the
baleful influence of a God of Control, used mainly
by the most powerful to control the rest of us. He
came to refer to him as Old Nobodaddy.

In the fullness of time Blake met the God introduced
to us by Jesus: the Loving Heavenly Father. The
gospel was a matter of forgiveness. Most of us have
to forgive (our) God, forgive our parents, our
spouses, most of all ourselves. Blake's First Vision of Light is the moment when he came into that glad awareness. Afterward the old negative ideas of Diety faded away to be replaced by the New Creation characterized by the Gifts of the Spirit.

psytheomyth

Psychology, Theology, Mythology: in the last analysis the three things all merge together into one, especially in Blake. Every verse tells something about the human mind, and about God, all wrapped together in the language of poetry and myth. For an example look at an analysis of Genesis 3.

Golgonooza

This is a response to friend Clint Stevens' post to the Yahoo Blake group.

It really doesn't respond to Clint's architectual questions, but the general question of Golgonnza in Blake's vision. However re spatial concepts: you may understand that the culmination of Gol is in Beulah, where space is completely evanescent. In that light Blake may be expected to use spatial (and temporal) terms playfully.

Blake was a highly spiritual (religious) man and Golgonooza can be best seen in that light.
In my simplistic understanding of Golgonooza it is the work of "art" and "artists", or perhaps the imaginative work of creative people in the world, or in Albion if you prefer, or in your own psyche-- of a period of 6000 years.

These works have a ambiguous history or nature, continually building and destroying like Jeremiah was called to do. You might also call it the work of angels in a demonic world (truth forever on the scaffold). The best work of the artisans of Golgonooza is chequered or flawed with many vestiges of Ulro, but consciously or hopefully moving toward Beulah. There of course it becomes Jerusalem.

The Church, which purports to be about growing into or building the kingdom of God can only be one of the lesser dimensions of Gol's inhabitants. As the master said,
"A Poet a Painter a Musician an Architect: the Man
Or Woman who is not one of these is not a Christian"
(LAOCOON prose; Erdman 274).

Exaggeration for Emphasis

People use one (or both) of two basic languages:
1. The vernacular or ordinary
2. Poetic language.

Our Blake spoke the poetic language from birth (as do most babies, but they unfortunately soon lose it). In many places ordinary language is understated: "I don't like him", may announce an intention of killing him.

In contrast poets are free to exaggerate. It may shock us into the truth they mean to convey. Blake was very, very good at that. Sometimes we just have to make allowances, but best of all is to be shocked into the truth.

Now which of these languages do we have here:
Good and Evil are deadly dreams that the Soul may fall into when it leaves Paradise following the Serpent.

Lewis and Blake

We know that Lewis was familiar enough to name one of his best books, The Great Divorce, in response to Blake's Marriage of Heaven and Hell. But I wonder if he had read the major poems.

""'When Aslan said you could never go back to Narnia, he meant the Narnia you were thinking of. But that was not the real Narnia. That had a beginning and an end. It was only a shadow or a copy of the real Narnia which has always been there and always will be there: just as our own world, England and all, is only a shadow or copy of something in Aslan's real world. You need not mourn over Narnia, Lucy. All of the old Narnia that mattered, all the dear creatures, have been drawn into the real Narnia through the Door. And of course it is different; as different as a real thing is from a shadow or as waking life is from a dream.'" (from The Last Battle, 1956)"

The Bard's Song

For discussion of Blake's Milton go here if you're interested.

Blake and the Bible

I've written a detailed explanation of Blake's basic use of the Bible and of the meaning it had for him. Go to Finally the Bible.