Friday, August 10, 2018


Yale Center for British Art
Plate 92
Jerusalem, Plate 20, (E 165)
[Jerusalem to Vala]
"When Albion rent thy beautiful net of gold and silver twine;
Thou hadst woven it with art, thou hadst caught me in the bands
Of love; thou refusedst to let me go: Albion beheld thy beauty
Beautiful thro' our Love's comeliness, beautiful thro' pity.
The Veil shone with thy brightness in the eyes of Albion,
Because it inclosd pity & love; because we lov'd one-another!
Albion lov'd thee! he rent thy Veil! he embrac'd thee! he lov'd thee!
Astonish'd at his beauty & perfection, thou forgavest his furious love:
I redounded from Albions bosom in my virgin loveliness.
The Lamb of God reciev'd me in his arms he smil'd upon us:
He made me his Bride & Wife: he gave thee to Albion.             
Then was a time of love: O why is it passed away!

Then Albion broke silence and with groans reply'd
Plate 21
O Vala! O Jerusalem! do you delight in my groans
You O lovely forms, you have prepared my death-cup"  
The God of Eternity may manifest as light or some abstract principle of benevolence, but the mind refuses to see the transcendent God as an object or material entity (the old man in the sky.) Jesus took on the image of God as a physical man who lived and worked and loved in the world which we experience. Blake developed the image of Jerusalem to represent the spiritual nature of God which is accessible to man in this world. Blake saw Jerusalem as the Emanation of Albion (all of mankind). She is the ethereal but active force which takes on the pain and suffering which results from the divisions within the Divine Body. At one point in the book named for her, she became the bride of Jesus, indicating that the reconciling of the contraries had been accomplished. The mind had become capable of being aware of contrary entities without assigning value: without eating of the Tree of the Knowledge of Good and Evil.

Albion could not awake without incorporating Jerusalem, his emanation, into his total being. When Albion retired into his long sleep, Jerusalem wandered the streets expressing compassionate self-sacrifice. The awakened Albion called upon Jerusalem to awake and resume her Eternal form which integrated and unified 'all nations' in a shared consciousness.
Jerusalem, Plate 96, (E 256)
"Do I sleep amidst danger to Friends! O my Cities & Counties
Do you sleep! rouze up! rouze up. Eternal Death is abroad

So Albion spoke & threw himself into the Furnaces of affliction 
All was a Vision, all a Dream: the Furnaces became
Fountains of Living Waters Howing from the Humanity Divine
And all the Cities of Albion rose from their Slumbers, and All
The Sons & Daughters of Albion on soft clouds Waking from Sleep
Soon all around remote the Heavens burnt with flaming fires    
And Urizen & Luvah & Tharmas & Urthona arose into
Albions Bosom: Then Albion stood before Jesus in the Clouds
Of Heaven Fourfold among the Visions of God in Eternity
Plate 97
Awake! Awake Jerusalem! O lovely Emanation of Albion
Awake and overspread all Nations as in Ancient Time
For lo! the Night of Death is past and the Eternal Day
Appears upon our Hills: Awake Jerusalem, and come away

So spake the Vision of Albion & in him so spake in my hearing   
The Universal Father." 
The wisdom of Jerusalem is forgiveness and compassion; it is tolerance and inclusion. Los held before himself a vision of Jerusalem as he walked among his furnaces attempting to open the return path to Eternity for mankind. His vision included a reflection of all the beauty and love of Eternity as well as the history of God's relationship with humanity. 

Jerusalem, Plate 86, (E 244)
"I see thy Form O lovely mild Jerusalem, Wingd with Six Wings
In the opacous Bosom of the Sleeper, lovely Three-fold
In Head & Heart & Reins, three Universes of love & beauty
Thy forehead bright: Holiness to the Lord, with Gates of pearl
Reflects Eternity beneath thy azure wings of feathery down     
Ribbd delicate & clothd with featherd gold & azure & purple
From thy white shoulders shadowing, purity in holiness!
Thence featherd with soft crimson of the ruby bright as fire
Spreading into the azure Wings which like a canopy
Bends over thy immortal Head in which Eternity dwells        
Albion beloved Land; I see thy mountains & thy hills
And valleys & thy pleasant Cities Holiness to the Lord
I see the Spectres of thy Dead O Emanation of Albion.

Thy Bosom white, translucent coverd with immortal gems
A sublime ornament not obscuring the outlines of beauty       
Terrible to behold for thy extreme beauty & perfection
Twelve-fold here all the Tribes of Israel I behold
Upon the Holy Land: I see the River of Life & Tree of Life
I see the New Jerusalem descending out of Heaven
Between thy Wings of gold & silver featherd immortal         
Clear as the rainbow, as the cloud of the Suns tabernacle

Thy Reins coverd with Wings translucent sometimes covering
And sometimes spread abroad reveal the flames of holiness
Which like a robe covers: & like a Veil of Seraphim
In flaming fire unceasing burns from Eternity to Eternity     
Twelvefold I there behold Israel in her Tents
A Pillar of a Cloud by day: a Pillar of fire by night
Guides them: there I behold Moab & Ammon & Amalek
There Bells of silver round thy knees living articulate
Comforting sounds of love & harmony & on thy feet           
Sandals of gold & pearl, & Egypt & Assyria before me
The Isles of Javan, Philistea, Tyre and Lebanon

Thus Los sings upon his Watch walking from Furnace to Furnace." 
William Blake's Circle of Destiny, by Milton O Percival, provides a succinct statement of the Emanation's contribution to wholeness:

"His Emanations are the fine flowering of life, the 'loves and graces' of the unfallen Albion. They are the sum total of the spirit's manifestation.
In union with her masculine source - the proper relation of the contraries undisturbed - the Emanation provides a 'con-centering vision,' whereby faith in the unity of all life is maintained. The mind, having in this state a sympathetic and intuitive understanding of the Emanation (the life of the world of manifestation), accepts the body and its energies - all of them - and knows them to be good. Enion and Jerusalem remain intact. God is seen in his works. Man and his universe are one." (Page  98) 

Wednesday, August 08, 2018


To understand Blake's figure of Jerusalem it is helpful to consider the personification of wisdom in other traditions.

Arlington Tempera
Detail of Ulysses & Athena
The goddess Athena envisioned wisdom in the mythology of ancient Greece. She became the patron goddess of Athens, the city which exercised a powerful influence on the development of western civilization. Her birth took place from the head (or brain) of Zeus from whom all creation originated.  Athena played multiple roles in the Greek world. She assisted Gods and men by providing implements for them to accomplish their tasks. She provided counsel and protection to those under her guidance. Ulysses relied on her as he returned to Ithaca following the Trojan war. Her wisdom was not rational or intellectual thought, but relational and intuitive insight. 

William Blake's Circle of Destiny, by Milton O Percival gives this insight into Jerusalem:

"A sharer in Albion's fortunes is Jerusalem, the feminine half of the mystical union of contraries which is Albion. Upon her rests the ineffable grace and glory that distinguish others of her line - the kabbalistic Shekinah, the Gnostic Sophia, Dante's Blessed Virgin, the Celestial Virgin of Boehme. She is like Albion, an inclusive figure, the personification of his spiritual well-being, the result of the harmonious functioning of all his powers. She is designated as the sum of Albion's Emanations, the mother of his little ones, the aggregate of the Daughters of Inspiration, a tent and tabernacle of mutual forgiveness. She exists because in Eternity error is forgiven, nothing condemned. Among the children of Albion her name is 'Liberty' - the liberty of regenerated souls." (Page 17)
Milton, Plate 4, (E 98)
"If you account it Wisdom when you are angry to be silent, and
Not to shew it: I do not account that Wisdom but Folly.
Every Mans Wisdom is peculiar to his own Individuality"

Milton, Plate 25 [27],(E 122)
"And Los stood & cried to the Labourers of the Vintage in voice of awe.

Fellow Labourers! The Great Vintage & Harvest is now upon Earth
The whole extent of the Globe is explored: Every scatterd Atom
Of Human Intellect now is flocking to the sound of the Trumpet
All the Wisdom which was hidden in caves & dens, from ancient    
Time; is now sought out from Animal & Vegetable & Mineral

The Awakener is come. outstretchd over Europe! the Vision of God is fulfilled
The Ancient Man upon the Rock of Albion Awakes"

Milton,Plate 34 [38], (E 134)
"And Ololon looked down into the Heavens of Ulro in fear
They said. How are the Wars of Man which in Great Eternity 
Appear around, in the External Spheres of Visionary Life
Here renderd Deadly within the Life & Interior Vision
How are the Beasts & Birds & Fishes, & Plants & Minerals
Here fixd into a frozen bulk subject to decay & death?
Those Visions of Human Life & Shadows of Wisdom & Knowledge      
Plate 35 [39]
Are here frozen to unexpansive deadly destroying terrors.
And War & Hunting: the Two Fountains of the River of Life
Are become Fountains of bitter Death & of corroding Hell"

Four Zoas, Night II, Page 35, (E 325)
"What is the price of Experience do men buy it for a song
Or wisdom for a dance in the street? No it is bought with the price
Of all that a man hath his house his wife his children
Wisdom is sold in the desolate market where none come to buy
And in the witherd field where the farmer plows for bread in vain

It is an easy thing to triumph in the summers sun
And in the vintage & to sing on the waggon loaded with corn
It is an easy thing to talk of patience to the afflicted
To speak the laws of prudence to the houseless wanderer
It is an easy thing to rejoice in the tents of prosperity
Thus could I sing & thus rejoice, but it is not so with me!"

Four Zoas, Night III, Page 39, (E 326) 
[Advice to Urizen] 
"Leave all futurity to him Resume thy fields of Light 
Why didst thou listen to the voice of Luvah that dread morn
To give the immortal steeds of light to his deceitful hands
No longer now obedient to thy will thou art compell'd
To forge the curbs of iron & brass to build the iron mangers
To feed them with intoxication from the wine presses of Luvah

Till the Divine Vision & Fruition is quite obliterated
They call thy lions to the fields of blood, they rowze thy tygers
Out of the halls of justice, till these dens thy wisdom framd
Golden & beautiful but O how unlike those sweet fields of bliss  
Where liberty was justice & eternal science was mercy"

Four Zoas, Night VII, PAGE 80,(E 355)
"And Urizen Read in his book of brass in sounding tones 

Listen O Daughters to my voice Listen to the Words of Wisdom
So shall [ye] govern over all let Moral Duty tune your tongue 
But be your hearts harder than the nether millstone
To bring the shadow of Enitharmon beneath our wondrous tree   
That Los may Evaporate like smoke & be no more
Draw down Enitharmon to the Spectre of Urthona
And let him have dominion over Los the terrible shade
Reduce all to our will as spaniels are taught with art"

Vision of Last Judgment, (E 560)
Knowledge is Remote Knowledge it is in Particulars that Wisdom
consists & Happiness too.  Both in Art & in Life General Masses
are as Much Art as a Pasteboard Man is Human Every Man has Eyes
Nose & Mouth this Every Idiot knows but he who enters into &
discriminates most minutely the Manners & Intentions the
Characters in all their branches is the
alone Wise or Sensible Man & on this discrimination All Art is
founded.  I intreat then that the Spectator will attend to the
Hands & Feet to the Lineaments of the Countenances they are all
descriptive of Character & not a line is drawn without intention
& that most discriminate & particular" 

Annotations to Swedenborg, (E 603)
"He who Loves feels love descend into him & if he has wisdom
may percieve it is from the Poetic Genius which is the Lord"

Annotations to Swedenborg, (E 603)
   "Thought without affection makes a distinction between Love
& Wisdom as it does between body & Spirit"
In the New Testament we can see that wisdom was apparent in the one mind which we share with Christ and one another.

Phillipians 2
[1] So if there is any encouragement in Christ, any incentive of love, any participation in the Spirit, any affection and sympathy,
[2] complete my joy by being of the same mind, having the same love, being in full accord and of one mind.
[3] Do nothing from selfishness or conceit, but in humility count others better than yourselves.
[4] Let each of you look not only to his own interests, but also to the interests of others.
[5] Have this mind among yourselves, which is yours in Christ Jesus,
[6] who, though he was in the form of God, did not count equality with God a thing to be grasped,
[7] but emptied himself, taking the form of a servant, being born in the likeness of men.

In the Old Testament wisdom which was with God from the beginning, was a source of delight among men.

Proverbs 8
[1] Doth not wisdom cry? and understanding put forth her voice?
[22] The LORD possessed me in the beginning of his way, before his works of old.
[23] I was set up from everlasting, from the beginning, or ever the earth was.
[24] When there were no depths, I was brought forth; when there were no fountains abounding with water.
[25] Before the mountains were settled, before the hills was I brought forth:
[26] While as yet he had not made the earth, nor the fields, nor the highest part of the dust of the world.
[27] When he prepared the heavens, I was there: when he set a compass upon the face of the depth:
[28] When he established the clouds above: when he strengthened the fountains of the deep:
[29] When he gave to the sea his decree, that the waters should not pass his commandment: when he appointed the foundations of the earth:
[30] Then I was by him, as one brought up with him: and I was daily his delight, rejoicing always before him;
[31] Rejoicing in the habitable part of his earth; and my delights were with the sons of men.
[32] Now therefore hearken unto me, O ye children: for blessed are they that keep my ways.
[33] Hear instruction, and be wise, and refuse it not.

Monday, August 06, 2018


The labyrinth in Blake's poetry impedes humanity as it seeks to return to its Eternal origin. Any of the facets of the mind may be involved in situations which trap man in confusion which obstructs progress. Urizen, Tharmus, Luvah and Urthona all build worlds which can become labyrinths because they seek to be exclusive methods of reaching unification of the mind. If the Selfhood, that erroneous reasoning which prevents the vision of the Eternal unified existence, is the Minotaur which must be overcome, the seeker must find his way into and out of the Labyrinth whose center he occupies.

When one encounters a Labyrinth, progress on the journey will reach a standstill unless the maze is entered and successfully navigated. When there is a conundrum which is a threat to solving a dilemma, it must be removed or continue as a destructive force. When Blake uses the term labyrinth in his myth he signals the necessity of solving a problem of importance before movement can continue.

The psychological implication of encountering a labyrinth is apparent in our own experience. Everything comes to a standstill if we encounter an unsolvable problem. It takes effort to reach the essence of the situation which produces the troublesome symptoms. Dealing with the Minotaur is taking action which fixes what can be fixed, and annihilating what can be annihilated. We still need the thread to find our way back to the path which leads to the destination we choose to pursue.

Wikipedia Commons 
Illustrations to Dante
In Blake's illustrations to Dante's Divine Comedy he shows Dante and Virgil escaping from the Minotaur, not by direct attack, but by arousing his anger which consumes the energy which would have directed toward toward his opponents. Dante's characters were seeking a way through the underworld; they needed to pass the Minotaur's 'primitive instinctual energies' (Edinger, Page 74) as a stage in the journey toward paradise.

Milton, Plate 13 [14], (E 107)
"But Elynittria met Leutha in the place where she was hidden.
And threw aside her arrows, and laid down her sounding Bow;
She sooth'd her with soft words & brought her to Palamabrons bed
In moments new created for delusion, interwoven round about,
In dreams she bore the shadowy Spectre of Sleep, & namd him Death.     
In dreams she bore Rahab the mother of Tirzah & her sisters
In Lambeths vales; in Cambridge & in Oxford, places of Thought
Intricate labyrinths of Times and Spaces unknown, that Leutha lived
In Palamabrons Tent, and Oothoon was her charming guard."

Jerusalem, Plate 13, (E 157)
"The Vegetative Universe, opens like a flower from the Earths center:
In which is Eternity. It expands in Stars to the Mundane Shell   
And there it meets Eternity again, both within and without,
And the abstract Voids between the Stars are the Satanic Wheels.

There is the Cave; the Rock; the Tree; the Lake of Udan Adan;
The Forest, and the Marsh, and the Pits of bitumen deadly:
The Rocks of solid fire: the Ice valleys: the Plains             
Of burning sand: the rivers, cataract & Lakes of Fire:
The Islands of the fiery Lakes: the Trees of Malice: Revenge:
And black Anxiety; and the Cities of the Salamandrine men:
(But whatever is visible to the Generated Man,
Is a Creation of mercy & love, from the Satanic Void.)           
The land of darkness flamed but no light, & no repose:
The land of snows of trembling, & of iron hail incessant:
The land of earthquakes: and the land of woven labyrinths:
The land of snares & traps & wheels & pit-falls & dire mills:
The Voids, the Solids, & the land of clouds & regions of waters:
With their inhabitants: in the Twenty-seven Heavens beneath Beulah:
Self-righteousnesses conglomerating against the Divine Vision:
A Concave Earth wondrous, Chasmal, Abyssal, Incoherent!
Forming the Mundane Shell: above; beneath: on all sides surrounding
Golgonooza: Los walks round the walls night and day."             

Jerusalem, Plate 66, (E 218)
"In awful pomp & gold, in all the precious unhewn stones of Eden
They build a stupendous Building on the Plain of Salisbury; with chains
Of rocks round London Stone: of Reasonings: of unhewn Demonstrations
In labyrinthine arches. (Mighty Urizen the Architect.) thro which
The Heavens might revolve & Eternity be bound in their chain.
Labour unparallelld! a wondrous rocky World of cruel destiny
Rocks piled on rocks reaching the stars: stretching from pole to pole.
The Building is Natural Religion & its Altars Natural Morality
A building of eternal death: whose proportions are eternal despair
Here Vala stood turning the iron Spindle of destruction          
From heaven to earth: howling! invisible! but not invisible
Her Two Covering Cherubs afterwards named Voltaire & Rousseau:
Two frowning Rocks: on each side of the Cove & Stone of Torture"

Jerusalem, Plate 86, (E 246)
Silent they wanderd hand in hand like two Infants wandring
From Enion in the desarts, terrified at each others beauty
Envying each other yet desiring, in all devouring Love,
Plate 87
Repelling weeping Enion blind & age-bent into the fourfold
Desarts. Los first broke silence & began to utter his love

O lovely Enitharmon: I behold thy graceful forms
Moving beside me till intoxicated with the woven labyrinth
Of beauty & perfection my wild fibres shoot in veins         
Of blood thro all my nervous limbs. soon overgrown in roots
I shall be closed from thy sight. sieze therefore in thy hand
The small fibres as they shoot around me draw out in pity
And let them run on the winds of thy bosom: I will fix them
With pulsations. we will divide them into Sons & Daughters   
To live in thy Bosoms translucence as in an eternal morning

Enitharmon answerd. No! I will sieze thy Fibres & weave
Them: not as thou wilt but as I will, for I will Create
A round Womb beneath my bosom lest I also be overwoven
With Love; be thou assured I never will be thy slave          
Let Mans delight be Love; but Womans delight be Pride
In Eden our loves were the same here they are opposite"

Four Zoas, Night I, Page 3,(E 301)
"Begin with Tharmas Parent power. darkning in the West

Lost! Lost! Lost! are my Emanations      Enion O Enion    
We are become a Victim to the Living We hide in secret    
I have hidden Jerusalem in Silent Contrition    O Pity Me
I will build thee a Labyrinth also O pity me    O Enion  
Why hast thou taken sweet Jerusalem from my inmost Soul  
Let her Lay secret in the Soft recess of darkness & silence
It is not Love I bear to [Jerusalem] It is Pity          
She hath taken refuge in my bosom & I cannot cast her out.

The Men have recieved their death wounds & their Emanations are fled 
To me for refuge & I cannot turn them out for Pitys sake"

Four Zoas, Night II, Page 26, (E 317)
"Hear ye the voice of Luvah from the furnaces of Urizen

If I indeed am Valas King & ye O sons of Men            
The workmanship of Luvahs hands; in times of Everlasting
When I calld forth the Earth-worm from the cold & dark obscure
I nurturd her I fed her with my rains & dews, she grew
A scaled Serpent, yet I fed her tho' she hated me
Day after day she fed upon the mountains in Luvahs sight         
I brought her thro' the Wilderness, a dry & thirsty land
And I commanded springs to rise for her in the black desart
Till she became a Dragon winged bright & poisonous      
I opend all the floodgates of the heavens to quench her thirst
Page 27 
And I commanded the Great deep to hide her in his hand
Till she became a little weeping Infant a span long
I carried her in my bosom as a man carries a lamb
I loved her I gave her all my soul & my delight
I hid her in soft gardens & in secret bowers of Summer           
Weaving mazes of delight along the sunny Paradise
Inextricable labyrinths, She bore me sons & daughters
And they have taken her away & hid her from my sight"

Four Zoas, Night V, Page 61, (E 341) 
"The hammer of Urthona smote the rivets in terror. of brass
Tenfold. the Demons rage flamd tenfold forth rending
Roaring redounding. Loud Loud Louder & Louder & fird
The darkness warring With the waves of Tharmas & Snows of Urizen
Crackling the flames went up with fury from the immortal demon   
Surrounded with flames the Demon grew loud howling in his fires
Los folded Enitharmon in a cold white cloud in fear
Then led her down into the deeps & into his labyrinth
Giving the Spectre sternest charge over the howling fiend

Concenterd into Love of Parent Storgous Appetite Craving         
His limbs bound down mock at his chains for over them a flame
Of circling fire unceasing plays to feed them with life & bring
The virtues of the Eternal worlds ten thousand thousand spirits
Of life lament around the Demon going forth & returning   
At his enormous call they flee into the heavens of heavens       
And back return with wine & food. Or dive into the deeps
To bring the thrilling joys of sense to quell his ceaseless rage
His eyes the lights of his large soul contract or else expand
Contracted they behold the secrets of the infinite mountains
The veins of gold & silver & the hidden things of Vala          
Whatever grows from its pure bud or breathes a fragrant soul
Expanded they behold the terrors of the Sun & Moon
The Elemental Planets & the orbs of eccentric fire" 

Four Zoas, Night VII, Page 78, (E 353)
"For Urizen fixd in Envy sat brooding & coverd with snow
His book of iron on his knees he tracd the dreadful letters
While his snows fell & his storms beat to cool the flames of Orc
Age after Age till underneath his heel a deadly root
Struck thro the rock the root of Mystery accursed shooting up   
Branches into the heaven of Los they pipe formd bending down
Take root again whereever they touch again branching forth
In intricate labyrinths oerspreading many a grizly deep

Amazd started Urizen when he found himself compassd round
And high roofed over with trees. he arose but the stems          
Stood so thick he with difficulty & great pain brought
His books out of the dismal shade. all but the book of iron
Again he took his seat & rangd his Books around            
On a rock of iron frowning over the foaming fires of Orc"

Four Zoas, Night VII, Page 84,(E 359)
"Listen O vision of Delight One dread morn of goary blood
The manhood was divided for the gentle passions making way   
Thro the infinite labyrinths of the heart & thro the nostrils issuing
In odorous stupefaction stood before the Eyes of Man   
A female bright. I stood beside my anvil dark a mass
Of iron glowd bright prepard for spades & plowshares. sudden down
I sunk with cries of blood issuing downward in the veins
Which now my rivers were become rolling in tubelike forms    
Shut up within themselves descending down I sunk along,   
The goary tide even to the place of seed & there dividing
I was divided in darkness & oblivion thou an infant woe
And I an infant terror in the womb of Enion
My masculine spirit scorning the frail body issud forth
From Enions brain In this deformed form leaving thee there   
Till times passd over thee but still my spirit returning hoverd 
And formd a Male to be a counterpart to thee O Love
Darkend & Lost In due time issuing forth from Enions womb
Thou & that demon Los wert born Ah jealousy & woe               
Ah poor divided dark Urthona now a Spectre wandering    
The deeps of Los the Slave of that Creation I created"

Four Zoas, Night VII, Page 95 [87] (SECOND PORTION), (E 367)
"Then took the tree of Mystery root in the World of Los
Its topmost boughs shooting a fibre beneath Enitharmons couch   
The double rooted Labyrinth soon wavd around their heads  

But then the Spectre enterd Los's bosom Every sigh & groan
Of Enitharmon bore Urthonas Spectre on its wings
Obdurate Los felt Pity Enitharmon told the tale
Of Urthona. Los embracd the Spectre first as a brother
Then as another Self; astonishd humanizing & in tears    
In Self abasement Giving up his Domineering lust

Four Zoas, Night VIII, Page 99, (E 372)
"For nothing could restrain the dead in Beulah from descending
Unto Ulros night tempted by the Shadowy females sweet    
Delusive cruelty they descend away from the Daughters of Beulah
And Enter Urizens temple Enitharmon pitying & her heart
Gates broken down. they descend thro the Gate of Pity
The broken heart Gate of Enitharmon She sighs them forth upon the wind                                                   t
Of Golgonooza Los stood recieving them                          
For Los could enter into Enitharmons bosom & explore
Its intricate Labyrinths now the Obdurate heart was broken"

Mental Traveller, (485)
"Like the wild Stag she flees away
Her fear plants many a thicket wild
While he pursues her night & day
By various arts of Love beguild    

By various arts of Love & Hate
Till the wide desart planted oer
With Labyrinths of wayward Love
Where roams the Lion Wolf & Boar        

Till he becomes a wayward Babe          
And she a weeping Woman Old             
Then many a Lover wanders here          
The Sun & Stars are nearer rolld"

Vision of Last Judgment,(E 562)
"The Temple stands on the Mount of God from it flows on each
side the River of Life on whose banks Grows the tree of Life
among whose branches temples & Pinnacles tents & pavilions
Gardens & Groves Display Paradise with its Inhabitants walking up
& down in Conversations concerning Mental Delights 
   Here they are no longer talking of what is Good &
Evil or of what is Right or Wrong & puzzling themselves in Satans
[Maze] Labyrinth But are Conversing with Eternal
Realities as they Exist in the Human Imagination   We are in a
World of Generation & death & this world we must cast off"

Songs of Experience, SONG 54, (E 31)
"The Voice of the Ancient Bard
Youth of delight come hither:
And see the opening morn,
Image of truth new born.
Doubt is fled & clouds of reason.
Dark disputes & artful teazing.
Folly is an endless maze,
Tangled roots perplex her ways,

How many have fallen there!
They stumble all night over bones of the dead,
And feel they know not what but care
And wish to lead others, when they should be led."

Milton, Plate 2, (E 96)
"Say first! what mov'd Milton, who walkd about in Eternity
One hundred years, pondring the intricate mazes of Providence
Unhappy tho in heav'n, he obey'd, he murmur'd not. he was silent
Viewing his Sixfold Emanation scatter'd thro' the deep
In torment! To go into the deep her to redeem & himself perish?"
Here is a short psychological interpretation of meaning that can be found in the myth of the Labyrinth and Minotaur. Notice that 'the center' has lost the negative connotation of the threat and danger of encountering the Minotaur in Greek mythology. In Blake a positive outcome resulted from encounters with dark forces because what had been rejected as the Selfhood was brought into a larger experience of the total psyche.

Stephen A. Diamond, Ph.D.:

"What is the psychospiritual significance of the mythical labyrinth? The labyrinth can be seen as an archetypal symbol of the psyche and of what C.G. Jung called the individuation process: that twisty, unpredictable, tortuous, serpentine path toward wholeness and authenticity. The goal is to reach the center, the Self, the core of our being. But this is only half the journey. For having discovered the inner center with it's treasure, the "pearl of great price," is not sufficient: One must then find a way out of the labyrinth and back to the outer world--forever transformed by this experience. And this inward and outward expedition is repeated over and over, each time yielding new riches. But there are real dangers lying in the labyrinth that can block the way--or worse. Psychosis, major depression, and other severely debilitating mental disorders can be likened to hopelessly losing one's way in the horrifying, hellish underworld of the labyrinth."

Another Answer.

Friday, August 03, 2018


Yale Center for British Art
Plate 73

Perhaps we can get a better grasp of Urthona and Los by reading of the Greek god Hephaestus in The Eternal Drama; The Inner Meaning of Greek Mythology by Edward F Edinger. You will notice both similarities and differences in the two beings who left heaven to become blacksmiths on earth. Edinger was speaking as a Jungian analyst and as a student of Greek mythology, without reference to Blake's poetry. Blake, of course, had absorbed quantities of mythology - Greek, Norse - Hindu - native American - before his own original mythopoeic poetry took form.
The Eternal Drams:The Inner Meaning of Greek Mythology, Page 34-36:
"Hephaestus, the blacksmith of the gods, was the master of fire and its operations - a metallurgist, a craftsman. He was the son of a single parent, as was Athena, and he was rejected at birth by his mother, Hera, because of his ugliness and lameness, and was thrown out of heaven, down to earth.
Hephaestus if the only god who has a major relation to earth which became his realm, and he thus signifies the divine power that has descended to earth and become connected with earthly reality...Hephaestus is a worker in concrete reality, since he is earthbound, and stands for the archetypal factor which operates within the personal and concrete. He is the inventor of useful, cunning and beautiful devices, and a creative artist.
Hephaestus represents creativity that develops out of defect or out of need; he is the only manifestation of imperfection in this whole Olympian realm of perfect beings. This makes him particularly precious, at least to man, since it gives him a partner in the divine realm, a partner related to creativity. Psychologically this indicates that an archetypal power has entered into personal reality and has brought the creative principle to the earthly realm. It suggests that creativity is born out of defectiveness or inadequacy that requires extraordinary effort as a consequence...Although he was married to Aphrodite, she had a love affair with Ares, so Hephaestus is the archetypal cuckold.
As we look over the masculine side of the Pantheon, setting aside Zeus and his brothers, we can see Apollo, Hermes, Ares, and Hephaestus as the four principles of masculine psychological functioning."
In this passage we learn that Urthona leaned on Tharmas as a consequence of his fall, recalling Hephaestus' ejection from heaven and his lameness.
Four Zoas, Night IX, Page 137, (E 405)
"The Eternal Man darkend with Sorrow & a wintry mantle   
Coverd the Hills   He said O Tharmas rise & O Urthona

Then Tharmas & Urthona rose from the Golden feast satiated
With Mirth & joy Urthona limping from his fall on Tharmas leand
In his right hand his hammer Tharmas held his Shepherds crook
Beset with gold gold were the ornaments formed by the sons of Urizen 
Then Enion & Ahania & Vala & the wife of Dark Urthona
Rose from the feast in joy ascending to their Golden Looms
There the wingd shuttle Sang the spindle & the distaff & the Reel
Rang sweet the praise of industry. Thro all the golden rooms
Heaven rang with winged Exultation" 
We learn from Wikipedia of some of Hephaestus' craftsmanship and the distinctly essential role he played among the gods:
"Hephaestus made all the weapons of the gods in Olympus. Hephaestus had his own palace on Olympus, containing his workshop with anvil and twenty bellows that worked at his bidding. Hephaestus crafted much of the magnificent equipment of the gods, and almost any finely wrought metalwork imbued with powers that appears in Greek myth is said to have been forged by Hephaestus. He designed Hermes' winged helmet and sandals, the Aegis breastplate, Aphrodite's famed girdle, Agamemnon's staff of office, Achilles' armor, Heracles' bronze clappers, Helios's chariot, the shoulder of Pelops, and Eros's bow and arrows."  

Los too forged weapons of war in the hope that they may be beaten into plowshares as was Isaiah's hope.
Isaiah 2
[4] And he shall judge among the nations, and shall rebuke many people: and they shall beat their swords into plowshares, and their spears into pruninghooks: nation shall not lift up sword against nation, neither shall they learn war any more. 

Jerusalem Plate 8, (E 151)
"Hand has absorbd all his Brethren in his might
All the infant Loves & Graces were lost, for the mighty Hand
Plate 9
Condens'd his Emanations into hard opake substances;
And his infant thoughts & desires, into cold, dark, cliffs of death.
His hammer of gold he siezd; and his anvil of adamant.
He siez'd the bars of condens'd thoughts, to forge them:
Into the sword of war: into the bow and arrow:                   
Into the thundering cannon and into the murdering gun

I saw the limbs form'd for exercise, contemn'd: & the beauty of
Eternity, look'd upon as deformity & loveliness as a dry tree:
I saw disease forming a Body of Death around the Lamb
Of God, to destroy Jerusalem, & to devour the body of Albion     
By war and stratagem to win the labour of the husbandman:
Awkwardness arm'd in steel: folly in a helmet of gold:
Weakness with horns & talons: ignorance with a rav'ning beak!
Every Emanative joy forbidden as a Crime:
And the Emanations buried alive in the earth with pomp of religion:          
Inspiration deny'd; Genius forbidden by laws of punishment:
I saw terrified; I took the sighs & tears, & bitter groans:
I lifted them into my Furnaces; to form the spiritual sword.
That lays open the hidden heart: I drew forth the pang
Of sorrow red hot: I workd it on my resolute anvil:              
I heated it in the flames of Hand, & Hyle, & Coban
Nine times; Gwendolen & Cambel & Gwineverra
Are melted into the gold, the silver, the liquid ruby,
The crysolite, the topaz, the jacinth, & every precious stone,
Loud roar my Furnaces and loud my hammer is heard:               
I labour day and night, I behold the soft affections
Condense beneath my hammer into forms of cruelty
But still I labour in hope, tho' still my tears flow down.
That he who will not defend Truth, may be compelld to defend
A Lie: that he may be snared and caught and snared and taken     
That Enthusiasm and Life may not cease: arise Spectre arise!

Thus they contended among the Furnaces with groans & tears;
Groaning the Spectre heavd the bellows, obeying Los's frowns;
Till the Spaces of Erin were perfected in the furnaces
Of affliction, and Los drew them forth, compelling the harsh Spectre.         
Plate 10                          
Into the Furnaces & into the valleys of the Anvils of Death
And into the mountains of the Anvils & of the heavy Hammers
Till he should bring the Sons & Daughters of Jerusalem to be
The Sons & Daughters of Los that he might protect them from
Albions dread Spectres; storming, loud, thunderous & mighty      
The Bellows & the Hammers move compell'd by Los's hand." 
In these passages Los is called the Vehicular Form of Urthona or the Vehicular Terror. He engages in building Golgonooza which when viewed externally is a city but when seen within is the operation of the bodily functions. 
Milton, Plate 17 [19], (E 110)
"It is a cavernous Earth 
Of labyrinthine intricacy, twenty-seven folds of opakeness
And finishes where the lark mounts; here Milton journeyed
In that Region calld Midian among the Rocks of Horeb
For travellers from Eternity. pass outward to Satans seat,
But travellers to Eternity. pass inward to Golgonooza.           

Los the Vehicular terror beheld him, & divine Enitharmon
Call'd all her daughters, Saying. Surely to unloose my bond
Is this Man come! Satan shall be unloosd upon Albion
Los heard in terror Enitharmons words: in fibrous strength
His limbs shot forth like roots of trees against the forward path
Of Miltons journey. Urizen beheld the immortal Man,
Plate 18 [20]                               
And Tharmas Demon of the Waters, & Orc, who is Luvah"      

Jerusalem, Plate 53, (E 202)
"But Los, who is the Vehicular Form of strong Urthona
Wept vehemently over Albion where Thames currents spring
From the rivers of Beulah; pleasant river! soft, mild, parent stream
And the roots of Albions Tree enterd the Soul of Los
As he sat before his Furnaces clothed in sackcloth of hair       
In gnawing pain dividing him from his Emanation;
Inclosing all the Children of Los time after time.
Their Giant forms condensing into Nations & Peoples & Tongues 
Translucent the Furnaces, of Beryll & Emerald immortal:
And Seven-fold each within other: incomprehensible               
To the Vegetated Mortal Eye's perverted & single vision
The Bellows are the Animal Lungs. the hammers, the Animal Heart
The Furnaces, the Stomach for Digestion; terrible their fury
Like seven burning heavens rang'd from South to North
Here on the banks of the Thames, Los builded Golgonooza,   
Outside of the Gates of the Human Heart, beneath Beulah
In the midst of the rocks of the Altars of Albion."

Milton, Plate 24 [26], (120)
"So Los spoke. Furious they descended to Bowlahoola & Allamanda
Indignant. unconvincd by Los's arguments & thun[d]ers rolling    
They saw that wrath now swayd and now pity absorbd him
As it was, so it remaind & no hope of an end.

Bowlahoola is namd Law. by mortals, Tharmas founded it:
Because of Satan, before Luban in the City of Golgonooza.
But Golgonooza is namd Art & Manufacture by mortal men.          

In Bowlahoola Los's Anvils stand & his Furnaces rage;
Thundering the Hammers beat & the Bellows blow loud
Living self moving mourning lamenting & howling incessantly
Bowlahoola thro all its porches feels tho' too fast founded
Its pillars & porticoes to tremble at the force                  

Of mortal or immortal arm: and softly lilling flutes
Accordant with the horrid labours make sweet melody
The Bellows are the Animal Lungs: the hammers the Animal Heart
The Furnaces the Stomach for digestion. terrible their fury"

Tuesday, July 31, 2018

Blake's Imagination

First posted March 2010.

Carl Jung in his four functions characterized the fourth as intuition. A century earlier William Blake, in the system he created, called it imagination. You may have noticed that some people appear to have a great imagination and some other people less so or none.

At the age of four Blake ran screaming to his mother to report an angry God had stuck his head through his bedroom window. That in itself amply set him apart from the generality of humanity whose imagination is more limited. It also marked him as strange, someone to avoid, as most of his acquaintances seemed to do.

Years later in a letter to Butts he gave a vivid picture of the shape of his mind. Here is a passage:

Letters, To Butts, (E 722)
"When my heart knockd against the root of my tongue
With Angels planted in Hawthorn bowers
And God himself in the passing hours
With Silver Angels across my way
And Golden Demons that none can stay
With my Father hovering upon the wind
And my Brother Robert just behind
And my Brother John the evil one
In a black cloud making his mone[y]
Tho dead they appear upon my path
Notwithstanding my terrible wrath
They beg they intreat they drop their tears
Filld full of hopes filld full of fears
With a thousand Angels upon the Wind
Pouring disconsolate from behind
To drive them off & before my way
A frowning Thistle implores my stay
What to others a trifle appears
Fills me full of smiles or tears
For double the vision my Eyes do see
And a double vision is always with me
With my inward Eye 'tis an old Man grey
With my outward a Thistle across my way
"If thou goest back the thistle said
Thou art to endless woe betrayd""

(Father and brothers of course have returned from the Great Divide to appear in this vision.)

This is a cogent description of what he calls double vision, an attribute of schizophrenics as well as artists; they see what's not there to the sense based person.

The thistle (old man) cautions Blake against retreating from his imaginative creations to the commercial art orientation that Hayley encouraged for three years. One can be a corporeal friend and a spiritual enemy; such was Hayley for Blake (and no doubt we have plenty of corporeal friends).

In a later letter to Butts (Erdman 728) Blake explicates what he had meant: "if a Man is the Enemy of my Spiritual Life while he pretends to be the Friend of my Corporeal. he is a Real Enemy".

Thank God for Butts; without his encouragement Blake might not have been able to break away from Hayley's direction and resume the better course of directing himself.

Blake elevated imagination to a quality of Jesus and of those of us who are aware (in Quaker language) that there is that of God in us. Such people see "that of God" in you, with all the potentialities that the term suggests, including the thump on the head and the healing balm.

Vision of the Last Judgment; (E 565)
"Thinking as I do that the Creator of this World is a very Cruel Being & being a Worshipper of Christ I cannot help saying the Son O how unlike the Father - First God Almighty comes with a Thump on the Head Then Jesus Christ comes
with a balm to heal it."

You may have much imagination or little; but it can be cultivated!

Sunday, July 29, 2018


First posted May 2011.

Dr. David R. Hiles of De Montfort University, Leicester UK, a professor of psychology, a student of Jung and Blake, makes these comments on suffering and the contraries in his paper "Jung, William Blake and our answer to Job":
"Taking this view on board, we can see that Job should not be seen as the archetype of suffering, but instead we should think of Job as the archetype of our relationship to suffering. The story of Job is not just about suffering, or about the human experience of suffering, but about the wisdom that can unfold from our experience of suffering. The Job archetype is something that we all possess, but only with profound difficulty, can we access it in ourselves. Of necessity, each of us must formulate our own answer to Job, from our experience of, and participation in, suffering. The importance of our experience of the Job archetype is that it so clearly portrays the coincidentia oppositorium, the coincidence or conjunction of opposites that are brought into human consciousness (I must stress this is not the marriage of opposites). This is an idea which occupies such an important place in Jung’s psychology. However, what is at stake here is not the recognition of opposites, or the interplay of opposites in our experience, or even the union or marriage of opposites, but the shocking realization of their conjunction in the same object or situation. The reason why the coincidentia oppositorium is so crucial is that it does not simply represent the opposition of fear and love, but represents fear and love of the same object. Fearing one object, and loving another, is hardly a challenging experience. But fearing and loving the same object, now that is a completely different matter!! This is a theme, or psychic truth, that must lie at the core of an existential- transpersonal model of human experience. It is almost certain that the fearful symmetry which William Blake refers to in his poem, The Tyger, is precisely this conjunction of opposites:" (Page 19)
"If we take this seriously, then it does not take much effort to realize that the God archetype could not manifest itself in human consciousness in any other way. It is precisely this realization that lies at the core of Blake’s interpretation of Job, but which Jung strangely fails to make explicit despite his extensive study of alchemy, and the creative tension of opposites. A close examination of the major difference between Jung’s and Blake’s interpretation of Job shows that, whereas Jung sees Job as morally defeating God, there is no suggestion of this in Blake’s engravings at all. This is a crucial point. For Blake the conjunction comes at the midpoint, i.e. at Plate 11. The marriage, or union, of opposites that unfolds in the second half of Blake’s designs would not be possible without this terrifying conjunction being experienced first. The notion of a moral defeat, over God by Job, is really a symptom of being stuck in the coincidentia oppositorium, and not being able to move beyond it.
Blake therefore offers a resolution that Jung falls well short of. Blake is offering a richer and far more subtle view of the human response to suffering than can be found in Jung’s Answer to Job." (Page 21)

Oothoon in The Visions of the Daughters of Albion seems to have reached the resolution of holding both the joy and the sorrow of experience in the one vision of everything as holy.
Wikipedia Commons
Visions of the Daughters of Albion
Plate 11

Visions of Daughters of Albion, Plate 7-8, (E 50)
"Does the sun walk in glorious raiment. on the secret floor
Where the cold miser spreads his gold? or does the bright cloud drop
On his stone threshold? does his eye behold the beam that brings
Expansion to the eye of pity? or will he bind himself
Beside the ox to thy hard furrow? does not that mild beam blot
The bat, the owl, the glowing tyger, and the king of night.
The sea fowl takes the wintry blast. for a cov'ring to her limbs:
And the wild snake, the pestilence to adorn him with gems & gold.
And trees. & birds. & beasts. & men. behold their eternal joy.
Arise you little glancing wings, and sing your infant joy!
Arise and drink your bliss, for every thing that lives is holy!

Thus every morning wails Oothoon. but Theotormon sits
Upon the margind ocean conversing with shadows dire.

The Daughters of Albion hear her woes, & eccho back her sighs." 


Saturday, July 28, 2018


First posted Feb 2011.

Blake seems to have unusual access to the unconscious world. Like a spring of living water it welled up into his consciousness in the form of images which he translated for us into words and pictures. Like the description Blake gives of Eternity as an ever active interchange of a multitude of super-sensory movements, the unconscious is a reservoir for the imagination.
Four Zoas, Page 21, (E 310)
Then those in Great Eternity met in the Council of God
As one Man for contracting their Exalted Sense

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

Jerusalem, Plate 88, (E 246)
"When in Eternity Man converses with Man they enter
Into each others Bosom (which are Universes of delight)
In mutual interchange. and first their Emanations meet
Surrounded by their Children. if they embrace & comingle
The Human Four-fold Forms mingle also in thunders of Intellect
But if the Emanations mingle not; with storms & agitations
Of earthquakes & consuming fires they roll apart in fear
For Man cannot unite with Man but by their Emanations
Which stand both Male & Female at the Gates of each Humanity"

In her book of essays on the basis of poetic expression, Defending Ancient Springs, Kathleen Raine looks for the common sources which illumine the poets. In this passage Raine in speaking of the collective unconscious which can speak to us in dreams and visions connecting our minds through the image world which we all share. (Page 114)

"Jung came nearer than did Freud to the traditional doctrine, as taught by those alchemists, Gnostics, and neo-Platonists whom he himself took for masters; for he realized that dreams do not so much conceal as embody meaning, and that this comes from their source within the psyche - or beyond it - normally inaccessible to the waking mind. Not all dreams come from the same level; and besides the personal elements recognized by Freud, Jung, was led to believe in what he calls a 'collective unconscious' because it is so as a rule, though at times accessible to consciousness. This is the ancient anima mundi, the soul of the world, whose images at times, waking or in dreams, we behold with amazement, so beautiful and so fraught with meaning do these appear. Because this world is not personal but common to all, its symbols are intrinsically intelligible as Freud's symbols from the personal unconscious are not.
The symbolic images come, of necessity, from the perceptible world; for this world is, in the nature of things, and unalterably, the 'given', inseparable from our human nature as incarnate beings; all the knowledge of the soul must come to it in terms of this world of embodiment - that is to say in symbolic form. Truly understood the entire world is one great symbol, imparting, in a sacramental manner, by outward and visible signature, an inward and spiritual essence."

This passage may intimate a way Blake reacted to placing his interior visions into outward forms:

Europe, Plate 1, (E 61)
"Ah mother Enitharmon!
Stamp not with solid form this vig'rous progeny of fires.

I bring forth from my teeming bosom myriads of flames.
And thou dost stamp them with a signet, then they roam abroad
And leave me void as death:
Ah! I am drown'd in shady woe, and visionary joy."

Blake seemed to have paid a price for transforming vision to poetry and images.

British Museum
Illustrations to Young's Night Thoughts


Here is the link to Kathleen Raine's video speaking about Blake and imagination.

Friday, July 27, 2018

Gates of Paradise Picture 15

British Museum
Gates of Paradise
Plate 15
British Museum
Gates of Paradise
Plate 14
First posted May 2010.

"The Door of Death I open found
And the Worm Weaving in the Ground"

Why must this gloomy picture succeed the last one?

As Blake wrote in Jerusalem, Plate 3, (E 145):

"Reader! [lover] of books! [lover] of heaven,

And of that God from whom [all books are given,]
Who in mysterious Sinais awful cave
To Man the wond'rous art of writing gave,
Again he speaks in thunder and in fire!
Thunder of Thought, & flames of fierce desire:
Even from the depths of Hell his voice I hear,
Within the unfathomd caverns of my Ear.
Therefore I print; nor vain my types shall be:
Heaven, Earth & Hell, henceforth shall live in

In Eternity the contraries unite. In Symbol and Image in William Blake, by George Wingfield Digby, he p. 49 suggests on page 49, that these two pictures (14 and 15), so different in aspect, are the two contraries married in Eternity. In 1st Peter 3:18-19 we're told that "Christ also once suffered for sins, the just for the unjust, that he might bring us to which also he went and preached unto the spirits in prison."

Jung spoke of the
Mysterium Coniunctionis ("mysterious conjunction"): the final alchemical synthesis (for Jung, of ego and unconscious, matter and spirit, male and female) that brings forth the Philosopher's Stone (the Self). Its highest aspect, as for alchemist Gerhard Dorn, was the unus mundus, a unification of the Stone with body, soul, and spirit" (the marriage if you will).

Digby shows us how Blake expressed this union of opposites in his poem, Milton: John Milton is in Heaven, but he has left "unresolved problems exemplified in three quarrelsome wives and daughters" (page 49), (his Selfhood was not entirely annihilated).

Milton, Plate 15, (E 108)
"He took off the robe of the promise and the girdle of
the oath of God
and Milton said, I go to Eternal Death! The Nations still
Follow after the detestable Gods of Priam; in pomp
Of warlike selfhood, contradicting and blaspheming.
When will the Resurrection come; to deliver the sleeping body From corruptibility: O when Lord Jesus wilt thou come? Tarry no longer; for my soul lies at the gates of death.
I will arise and look forth for the morning of the grave.
I will go down to the sepulcher to see if morning breaks!
I will go down to self annihilation and eternal death,
Lest the Last Judgment come & find me unannihilate
And I be siez'd & giv'n into the hands of my own

Selfhood" .

Long, long ago Isaiah was written (or edited); looking at the book as a whole you may perceive something like these two pictures in Gates of Paradise. Isaiah is written with a rapid alternation between wrath (Judgment) and grace (The Promise).

So we find Isaiah, Blake, "Milton", Jung, alchemy: all
agreeing in the Eternal union of the temporal opposites. Our
Poet tried to express this fundamental truth of life("joy and 
woe are woven fine....the babe is more than swadling bands". 

When you've  met the immortal man, you're armed with light,
like the man in picture 14, to deal with the cross we all bear.
You've experienced the Marriage.

Wednesday, July 25, 2018


First posted Aug 2009.

After returning from a long, near fatal illness C G Jung experienced a state where visions absorbed his nightly pursuits. Here is his description from Memories, Dream, Reflections:

"We shy away from the word "eternal," but I can describe
experience only as the ecstasy of a non-temporal state
in which
present, past, and future are one. Everything
that happens in
time had been brought together into a
concrete whole. Nothing
was distributed over time,
nothing could be measured by temporal
concepts. The
experience might best be defined as a state
of feeling, but
one which cannot be produced by imagination.
can I imagine that I exist simultaneously the day before

yesterday, today, and the day after tomorrow? There would
be things which would not yet have begun, other things
would be indubitably present, and others again
which would
already be finished and yet all this would be
one. The only
thing that feeling could grasp would be
a sum, an iridescent
whole, containing all at once
expectation of a beginning,
surprise at what is now
happening, and satisfaction or
disappointment with the
result of what has happened. One is interwoven
into an
indescribable whole and yet observes it with complete
(Page 295)
Wikipedia Commons
Plate 32
Erdman, in The Illuminated Blake, says of this image "Knowing it will be impossible to receive the full inspiration of Milton by the mind alone, Blake has to go and catch a falling star."

Blake's experience of visions, which must have been similar to Jung's, are conveyed to us in a totally different way. Jung used an intellectual, objective way to describe an emotional, subjective experience. Blake involves us in his experience by evoking suggestive images to allow us a perception of the non-temporal, simultaneous, interwoven wholeness.

Milton, Plate 39, (E 140)
"Suddenly around Milton on my Path, the Starry Seven
Burnd terrible! my Path became a solid fire, as bright
As the clear Sun & Milton silent came down on my Path.
And there went forth from the Starry limbs of the Seven: Forms
Human; with Trumpets innumerable, sounding articulate
As the Seven spake; and they stood in a mighty Column of Fire
Surrounding Felphams Vale, reaching to the Mundane Shell, Saying
Awake Albion awake! reclaim thy Reasoning Spectre. Subdue

Him to the Divine Mercy, Cast him down into the Lake
Of Los, that ever burneth with fire, ever & ever Amen!
Let the Four Zoa's awake from Slumbers of Six Thousand Years"