MAKING OF MYTH

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Mercy and Truth Are Met Together

Although when we read Blake's poetry we may be most aware of the particular characters and images which we encounter, that is not all there is to it. The minutiae may be thought of as the instrumentality which serves the myth as a whole. But the myth itself also means more, for like all myth, it is pointing beyond itself to truth that cannot be expressed in words. Although we may wish that Blake's thoughts should be unequivocally stated so that we could read Jerusalem in the way that we read the newspaper, that is impossible. It is up to the reader to make his own intuitive contribution by fitting the parts into a whole which may be elusive.  

Kathleen Raine on page 135 of Defending Ancient Springs expresses the artistry of the poet who has the gift of being a vehicle for presenting the moment when eternity penetrates time and renovates the whole:

"So for Yeats the vision of what lies behind the veil came in glimpses, seldom in whole symbolic episodes, still less in myths which unfold like those of Blake, into great epic drama enacted in an interior country within whose spaces we move freely. The unit of such poetry is not the symbol. Myths are not built by adding piece by piece, they are not the sum of symbolic parts. The unit of the myth is the whole enactment, and all its figures; each symbol exists as a part within that imaginative unity, from which it is inseparable, and by which it is determined; as a sentence determines words, and is not merely their sum.
...in every turbulent encounter with the mighty form of his Zoas, we recognize parts within a great whole whose harmony is implicit. The ability to handle the units of myth - which might be defined as dynamic symbol, symbol in transformation - ought to be recognized as the supreme poetic gift. In such poetry the symbolic parts are inseparable from the imaginative configuration and constellations within which they appear...we do not think of these as separate symbols but as parts of the world in which the poem moves, as we move in nature. Yer considered separately each symbol is used with the precision of words in a language of which the poet has perfect mastery."

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Milton, Plate 5, (E 98) 
"While the Females prepare the Victims. the Males at Furnaces 
And Anvils dance the dance of tears & pain. loud lightnings
Lash on their limbs as they turn the whirlwinds loose upon
The Furnaces, lamenting around the Anvils & this their Song

Ah weak & wide astray! Ah shut in narrow doleful form
Creeping in reptile flesh upon the bosom of the ground      
The Eye of Man a little narrow orb closd up & dark
Scarcely beholding the great light conversing with the Void
The Ear, a little shell in small volutions shutting out
All melodies & comprehending only Discord and Harmony
The Tongue a little moisture fills, a little food it cloys  
A little sound it utters & its cries are faintly heard
Then brings forth Moral Virtue the cruel Virgin Babylon

Can such an Eye judge of the stars? & looking thro its tubes
Measure the sunny rays that point their spears on Udanadan
Can such an Ear filld with the vapours of the yawning pit.  
Judge of the pure melodious harp struck by a hand divine?
Can such closed Nostrils feel a joy? or tell of autumn fruits
When grapes & figs burst their covering to the joyful air
Can such a Tongue boast of the living waters? or take in
Ought but the Vegetable Ratio & loathe the faint delight     
Can such gross Lips percieve? alas! folded within themselves
They touch not ought but pallid turn & tremble at every wind

Thus they sing Creating the Three Classes among Druid Rocks    
Charles calls on Milton for Atonement. Cromwell is ready
James calls for fires in Golgonooza. for heaps of smoking ruins  
In the night of prosperity and wantonness which he himself Created
Among the Daughters of Albion among the Rocks of the Druids"

Milton, Plate 31 [34], (E 130)
"Thou hearest the Nightingale begin the Song of Spring;
The Lark sitting upon his earthy bed: just as the morn
Appears; listens silent; then springing from the waving Corn-field! loud
He leads the Choir of Day! trill, trill, trill, trill,
Mounting upon the wings of light into the Great Expanse:
Reecchoing against the lovely blue & shining heavenly Shell:
His little throat labours with inspiration; every feather
On throat & breast & wings vibrates with the effluence Divine    
All Nature listens silent to him & the awful Sun
Stands still upon the Mountain looking on this little Bird

With eyes of soft humility, & wonder love & awe.
Then loud from their green covert all the Birds begin their Song
The Thrush, the Linnet & the Goldfinch, Robin & the Wren         
Awake the Sun from his sweet reverie upon the Mountain:
The Nightingale again assays his song, & thro the day,
And thro the night warbles luxuriant; every Bird of Song
Attending his loud harmony with admiration & love.
This is a Vision of the lamentation of Beulah over Ololon!       

Thou percievest the Flowers put forth their precious Odours!
And none can tell how from so small a center comes such sweets 
Forgetting that within that Center Eternity expands
Its ever during doors, that Og & Anak fiercely guard[.]
First eer the morning breaks joy opens in the flowery bosoms     
Joy even to tears, which the Sun rising dries; first the Wild Thyme
And Meadow-sweet downy & soft waving among the reeds.
Light springing on the air lead the sweet Dance: they wake
The Honeysuckle sleeping on the Oak: the flaunting beauty
Revels along upon the wind; the White-thorn lovely May           
Opens her many lovely eyes: listening the Rose still sleeps    
None dare to wake her. soon she bursts her crimson curtaind bed
And comes forth in the majesty of beauty; every Flower:
The Pink, the Jessamine, the Wall-flower, the Carnation
The Jonquil, the mild Lilly opes her heavens! every Tree,        
And Flower & Herb soon fill the air with an innumerable Dance
Yet all in order sweet & lovely, Men are sick with Love!
Such is a Vision of the lamentation of Beulah over Ololon"

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 harmony" 

Poetical Sketches, SONG, (E 413)
"Love and harmony combine,
And around our souls intwine,
While thy branches mix with mine,
And our roots together join.

Joys upon our branches sit,    
Chirping loud, and singing sweet;
Like gentle streams beneath our feet
Innocence and virtue meet.

Thou the golden fruit dost bear,
I am clad in flowers fair;    
Thy sweet boughs perfume the air,
And the turtle buildeth there.

There she sits and feeds her young,
Sweet I hear her mournful song;
And thy lovely leaves among,
There is love: I hear his tongue.   

There his charming nest doth lay,
There he sleeps the night away;
There he sports along the day,
And doth among our branches play." 

Annotations to Reynolds, (E 659)
 "Demonstration Similitude & Harmony are Objects of Reasoning 
Invention Identity & Melody are Objects of Intuition"