British Museum
Jerusalem, Plate 100
Another instance of Blake using a single image as he did in the
Arlington Tempera, to portray a summation of his myth in visual
form, is the final plate of Jerusalem. The central figure
is Los, the blacksmith whose furnaces were the instrument for
shaping thought by destroying error repeatedly until truth became
recognisable. In addition to his hammer whose force moulded the
malleable metals following the softening in the fire, Los holds
the compass which symbolises the rational method of creation as
used by Urizen or Newton. The Zoa of reason is also portrayed in
the figure on the left who carries on his shoulder a globe of
light, as did Urizen in his Eternal form as the Prince of Light.
The right of the picture is devoted to symbols of the feminine,
the emanative form. She holds the spindle and the woven fabric (or
perhaps veil.) The moon in the form of an ark, pours out the water
of material experience. There are three stars from the chain which
was created to prevent man from falling from heaven into the
abyss.
The lower background consists of a serpentine wall and a circle of
triathlons, symbols of error which had been overcome.
Jerusalem, Plate 98,(E 258)
"According to the subject of discourse & every Word &
Every Character
Was Human according to the Expansion or Contraction, the
Translucence or
Opakeness of Nervous fibres such was the variation of Time &
Space
Which vary according as the Organs of Perception vary & they
walked
To & fro in Eternity as One Man reflecting each in each &
clearly seen
And seeing: according to fitness & order. And I heard Jehovah
speak
Terrific from his Holy Place & saw the Words of the Mutual
Covenant Divine
On Chariots of gold & jewels with Living Creatures starry
& flaming
With every Colour, Lion, Tyger, Horse, Elephant, Eagle Dove, Fly,
Worm,
And the all wondrous Serpent clothed in gems & rich array
Humanize
In the Forgiveness of Sins according to the Covenant of Jehovah."
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