MILTON & SHADOW

New York Public Library

Milton 

Plate 16

In Blake's Milton the decisive moment when Milton felt compelled to leave Heaven and go to Eternal Death initiated his journey to "Albions land: Which is this earth of vegetation on which now I (Blake) write."

Blake assumed the role of recording the transformation of Milton's "immortal self'" as he experienced events in the world of time and space. His journey was both outward though the natural world and inward through his own psyche. 

Milton's psyche was divided as he determined to redeem his "Sixfold Emanation scatter'd thro' the deep In torment!" He becomes a quaternary consisting of his Humanity, his Shadow, his Emanation and his Spectre. Each aspect of his eternal self had work to do in the journey to wholeness.

Blake first dealt with the Shadow which is delusion without substance. It is not error itself but the image of error - without form it cannot be destroyed. Urizen must receive a body before he can be confronted by Milton. Blake and Milton both knew that the reasoning mind tended to dominate the psyche, therefore Blake first tackeled Urizen in order to begin the changes needed in Milton.

 

Milton's religion was tainted by Puritanism, a strict religion based on rules and punishment. Paradise Lost emphasized the failures of Satan, Eve and Adam to abide by God's dictates. They suffered alienation and penalties for their disobedience.

Blake's Milton postulates that through hearing the Bard's Song in heaven, Milton became aware that his poetic works, his instructional pamplets, his participation in revolution, and his relation with women were based on errors which required correction. His consciousnes of himself was distorted by his inability to discern truth.

Blake attempted to examine Milton's life and work with the aim of separating truth from error in Milton's life and work, for the purpose of building on Milton's experience to enhance his own prophetic calling. 

---

From The Iluminated Blake, by David v Erdman, (Page 236):

"Los shoots his limbs forth 'like the limbs of trees" - and we see that he is almost headless. .. Urizen, nothing but head, peers from the ground and beholds "the immortal Man."

...

Historically the separation of England's head and body is what happened in the "fury premature" of 1649; it was justified by the republican Milton, but the ensuing Civil War did not achieve a resurrected England. In the Bard's Song King Charles "calls upon Milton for atonement."'

Milton, Plate 14,[15], (E 108) 

"Then on the verge of Beulah he beheld his own Shadow;
A mournful form double; hermaphroditic: male & female
In one wonderful body. and he enterd into it
In direful pain for the dread shadow, twenty-seven-fold

Reachd to the depths of direst Hell, & thence to Albions land:  
Which is this earth of vegetation on which now I write,

The Seven Angels of the Presence wept over Miltons Shadow!"

Milton, Plate 15 [17], (E 109)
"As when a man dreams, he reflects not that his body sleeps,
Else he would wake; so seem'd he entering his Shadow: but
With him the Spirits of the Seven Angels of the Presence
Entering; they gave him still perceptions of his Sleeping Body;
Which now arose and walk'd with them in Eden, as an Eighth   
Image Divine tho' darken'd; and tho walking as one walks
In sleep; and the Seven comforted and supported him."

Milton, Plate 17,[19], (E 110)

"In those three females whom his Wives, & those three whom his Daughters
Had represented and containd, that they might be resum'd
By giving up of Selfhood: & they distant view'd his journey
In their eternal spheres, now Human, tho' their Bodies remain clos'd
In the dark Ulro till the Judgment: also Milton knew: they and   
Himself was Human, tho' now wandering thro Death's Vale
In conflict with those Female forms, which in blood & jealousy
Surrounded him, dividing & uniting without end or number.

He saw the Cruelties of Ulro, and he wrote them down
In iron tablets: and his Wives & Daughters names were these      
Rahab and Tirzah, & Milcah & Malah & Noah & Hoglah,
They sat rangd round him as the rocks of Horeb round the land
Of Canaan: and they wrote in thunder smoke and fire
His dictate; and his body was the Rock Sinai; that body,
Which was on earth born to corruption: & the six Females         
Are Hor & Peor & Bashan & Abarim & Lebanon & Hermon

Seven rocky masses terrible in the Desarts of Midian. 

But Miltons Human Shadow continu'd journeying above

The rocky masses of The Mundane Shell; in the Lands
Of Edom & Aram & Moab & Midian & Amalek.                         

The Mundane Shell, is a vast Concave Earth: an immense
Hardend shadow of all things upon our Vegetated Earth
Enlarg'd into dimension & deform'd into indefinite space,
In Twenty-seven Heavens and all their Hells; with Chaos
And Ancient Night; & Purgatory. 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,"

MILTON'S TRACK

Posted Oct 2010

New York Public Library

Milton

Plate 36

On Plate 36 of Milton, Blake presents a diagram of Milton's descent into the world from Eternity. So we are able to see the globes of the four universes as they are positioned and overlap, the location of the earth and of Los' mundane egg. We see Adam at the center of the earth and Satan within the sphere of Urizen. We see the fiery chaos within the egg and flames outside of the Four Universes. Milton's track leads him past Satan to Adam.

In The Illuminated Blake (Page 252), Erdman describes the picture:
"Milton's track enters the universes at the intersection of the
eastern globe of Luvah and the southern globe of Urizen and carries
him into the Egg, close to the center of Satan's realm of fire and into
the earth circle - the drawing of this circle is obscured by paint in D
- that fits the smaller end of the egg, with its center marked "Adam." Note that the earth, often overlooked in discussions of this diagram, is wholly within the realm of Urthona (Los), wholly outside of the realm of Urizen, and only fractionally within those of Tharmas and Luvah. (But though Urthona is earth-owner, his realm is not confined to earth. In [copy] D where the spheres are differentiated, his contains most of the blue sky.)"

Here are some of the word pictures from Blake describing the world and Milton's descent into it:

Milton, Plate 19 [21], (E 112)
"All fell towards the Center in dire ruin, sinking down.
And in the South remains a burning fire; in the East a void.
In the West, a world of raging waters; in the North a solid,
Unfathomable! without end. But in the midst of these,
Is built eternally the Universe of Los and Enitharmon:
Towards which Milton went, but Urizen oppos'd his path."

Milton, Plate 34 [38], (E134)
"Around this Polypus Los continual builds the Mundane Shell
Four Universes round the Universe of Los remain Chaotic
Four intersecting Globes, & the Egg form'd World of Los
In midst; stretching from Zenith to Nadir, in midst of Chaos.
One of these Ruind Universes is to the North named Urthona
One to the South this was the glorious World of Urizen
One to the East, of Luvah: One to the West; of Tharmas.
But when Luvah assumed the World of Urizen in the South
All fell towards the Center sinking downward in dire Ruin

Here in these Chaoses the Sons of Ololon took their abode
In Chasms of the Mundane Shell which open on all sides round
Southward & by the East within the Breach of Miltons descent
To watch the time, pitying & gentle to awaken Urizen
They stood in a dark land of death of fiery corroding waters
Where lie in evil death the Four Immortals pale and cold
And the Eternal Man even Albion upon the Rock of Ages[.]
Seeing Miltons Shadow, some Daughters of Beulah trembling
Returnd, but Ololon remaind before the Gates of the Dead"

Milton, Plate 21 [23], (E 116)
"But saw them not, for the blue Mundane Shell inclosd them in.
And they lamented that they had in wrath & fury & fire
Driven Milton into the Ulro; for now they knew too late
That it was Milton the Awakener: they had not heard the Bard,
Whose song calld Milton to the attempt; and Los heard these
laments.
He heard them call in prayer all the Divine Family;
And he beheld the Cloud of Milton stretching over Europe.

But all the Family Divine collected as Four Suns
In the Four Points of heaven East, West & North & South
Enlarging and enlarging till their Disks approachd each other;
And when they touch'd closed together Southward in One Sun
Over Ololon: and as One Man, who weeps over his brother,
In a dark tomb, so all the Family Divine. wept over Ololon.

Saying, Milton goes to Eternal Death! so saying, they groan'd in spirit
And were troubled! and again the Divine Family groaned in spirit!

And Ololon said, Let us descend also, and let us give
Ourselves to death in Ulro among the Transgressors."

Milton, Plate 21 [23], (E 115)
"also all men on Earth,
And all in Heaven, saw in the nether regions of the Imagination
In Ulro beneath Beulah, the vast breach of Miltons descent."

If you are curious about the text on the plate with the diagram, you will find it here:

Milton, Plate 33 [36], (E 132)
"And the Divine Voice was heard in the Songs of Beulah Saying     

When I first Married you, I gave you all my whole Soul
I thought that you would love my loves & joy in my delights
Seeking for pleasures in my pleasures O Daughter of Babylon
Then thou wast lovely, mild & gentle. now thou art terrible      
In jealousy & unlovely in my sight, because thou hast cruelly
Cut off my loves in fury till I have no love left for thee
Thy love depends on him thou lovest & on his dear loves
Depend thy pleasures which thou hast cut off by jealousy
Therefore I shew my jealousy  & set  before you Death.     
Behold Milton descended to Redeem the Female Shade

From Death Eternal; such your lot, to be continually Redeem'd
By death & misery of those you love & by Annihilation
When the Sixfold Female percieves that Milton annihilates
Himself: that seeing all his loves by her cut off: he leaves     
Her also: intirely abstracting himself from Female loves
She shall relent in fear of death: She shall begin to give
Her maidens to her husband: delighting in his delight

And then & then alone begins the happy Female joy
As it is done in Beulah, & thou O Virgin Babylon Mother of Whoredoms
Shalt bring Jerusalem in thine arms in the night watches; and
No longer turning her a wandering Harlot in the streets
Shalt give her into the arms of God your Lord & Husband.

Such are the Songs of Beulah in the Lamentations of Ololon"

Eternal Death

Previously posted April 2021

Next to the Bible the poet John Milton was Blake's most formative spiritual influence. 'Paradise Lost' was the great religious epic in the English language, and Blake's calling as an epic poet is closely related to his affinity with Milton. As early as 'The Marriage of Heaven and Hell' he commented on Milton's vision. Quotations from 'Paradise Lost' and allusions to it fill the pages of The Four Zoas. The evolving myth of Urizen, Orc, and Los may be understood at one level as a meditation upon Milton's leading characters--the Almighty, Satan, and Messiah.

       In the first six nights of the Four Zoas Blake had exhausted his vision and didn't know at first how to proceed. Then he was surprised by joy and enabled to construct a Christian conclusion to the myth. But he didn't bother to engrave the Four Zoas because his interests had changed. In the next long poem, Milton, he worked through and meditated upon the Moment of Grace and savored the new spiritual world which he had inherited. Milton is a record of Blake's Christian honeymoon.

       In the first part of Milton', called the 'Bard's Song', Blake deals with the dramatic years at Felpham. Here we find Blake's definitive and full bodied portrait of Satan. Blake had come full circle from his ironic identification with the Devil in MHH. Now he identified Hayley with Satan, which seems rather uncharitable. We need to bear in mind that there were two Hayleys in Blake's mind. The first Hayley was a corporeal friend who had lured him to Felpham and tried to 'do him in' spiritually: "Corporeal friends are spiritual enemies". This Hayley served as tempter in what we may call Blake's last temptation. The other Hayley was a fellow sufferer with Blake, an artist whom Blake continued to encourage and nurture, as the letters attest.

       In the remainder of Milton Blake's hero, John Milton, after a hundred years in Eternity, reenacts the kenosis (self emptying) of Christ and descends to redeem his successor - Blake - and mankind. This of course is a climactic moment in the poem. An unheard of thing! One leaves Heaven to return to 'this vale of tears'. Well, not quite unprecedented; Milton simply followed the path of Jesus. In that way Blake gave Milton (the man) the highest approval possible.

The Bard's Song led to a loud murmuring in the Heavens of Albion, and "the loud voic'd Bard terrify'd took refuge in Miltons bosom; then Milton "took off the robe of the promise, & ungirded himself from the oath of God."

                                                    New York Public Library

                                                               Milton 

                                                             Plate 13

Milton, Plate 14, (E 108)

"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
The Lamb of God is seen thro' mists & shadows, hov'ring
Over the sepulchers in clouds of Jehovah & winds of Elohim
A disk of blood, distant; & heav'ns & earth's roll dark between
What do I here before the Judgment? without my Emanation?
With the daughters of memory, & not with the daughters of inspiration
I in my Selfhood am that Satan: I am that Evil One!
He is my Spectre! in my obedience to loose him from my Hells
To claim the Hells, my Furnaces, I go to Eternal Death."

Blake's myth was to a large degree patterned after Paradise Lost. His difference with Milton resembled one of those "severe contentions of Friendship." Milton had spoken; Blake replied in MHH; now he replies again! That's the shape of the poem as far as Blake himself was concerned.

Thereafter Milton allied himself with Los, giving, with Blake a triumvirate against which none could stand. Milton is an essay describing the triumph of Jesus over all the forces of the world.

Between the end of Songs of Innocence and the Moment of Grace, Blake had seen and described nature as corrupt, as groaning in travail. Now in Milton he sees creation redeemed just as Paul had said that it would be:

Romans 8
[21] Because the creature itself also shall be delivered from the bondage of corruption into the glorious liberty of the children of God.
[22] For we know that the whole creation groaneth and travaileth in pain together until now.
[23] And not only they, but ourselves also, which have the firstfruits of the Spirit, even we ourselves groan within ourselves, waiting for the adoption, to wit, the redemption of our body.

The poem is full of a beauty and joy which had been largely absent from Blake's pen since 'Songs of Innocence'. It contains some of his finest nature poetry. 

 Milton, Plate 31 [34], (E 139) 
  "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 Cornfield, 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." 

  Blake's Milton is difficult to immediately grasp, but yields immense returns to anyone determined enough to come to an understanding of it.

From Chapter 1 of Larry's book Ram Horn'd With Gold.

Blake's Milton

 First posted June 2017

In 2011 Larry taught a short enrichment course in Blake at the Senior Learning Institute of the College of Central Florida. He concluded the course with this precis of Blake's Milton.

Wikimedia Commons
British Museum
Milton
Copy A, Plate 1

 

The Mature Works

Milton, Blake's first overtly Christian work, is his testimony of faith. It's also his way of rehabilitating his childhood hero, John Milton. Finally it's a difficult poem; it contains unfathomable depths. This review can do no more than introduce the reader to the poem and call attention to some of the new elements in the mature development of Blake's myth.

Milton is a very autobiographical work. Blake used many of the characters that his readers might be familiar with from earlier works, but in this very personal poem they often assume other (although related) identities. Particularly we understand that Blake was Los, and Hayley was Satan (he had suborned Blake from his true work to hack work: from Eternity to Ulro.)

John Milton, the author of Paradise Lost, had been a major force in Blake's life; he had been many things to Blake since his childhood. In Blake's day Milton enjoyed enormous spiritual stature among the English people. Even today the general understanding of Heaven, Hell, God and Satan (among people interested in those concepts) tends to be more often Miltonic than Biblical. All subsequent English poets lived and wrote in Milton's shadow, and the greatest ones aspired to achieve an epic comparable to Paradise Lost. In the first half of his life Blake was very much under the shadow of Milton who was respected as the great epic poet of the English people.

Although Blake had much in common with the puritan poet, he disagreed with Milton about a number of things. For example, as a young man he despised the God of Paradise Lost and admired Milton's Devil. Blake made that clear in The Marriage of Heaven and Hell and tried to put Milton in his place by saying that he was of the Devil's party without knowing it. Ten years later the experience of grace empowered Blake to deal with Milton in a better way. He called him back to earth to straighten out his theology, and he identified with him and his spiritual power in a radical way. He recreated Milton as Milton had recreated the Bible.

As Blake's poem begins, Milton has been in Heaven for a hundred years, obedient although not very happy there. The 'Bard's Song' (which takes up the first third of the poem) recreates the war in Heaven of Paradise Lost. The other Eternals find the Bard's song appalling, but Milton embraces the Bard and his song. In a thrilling imaginative triumph he announces his intention of leaving Heaven to complete the work on earth that he had left undone. Although Blake doesn't say this, any Christian should recognize that Milton thus follows in the footsteps of Christ as described in the famous Kenosis passage in Philippians 2: 

Philippians 2
[5] Let this mind be in you, which was also in Christ Jesus:
[6] Who, being in the form of God, thought it not robbery to be equal with God:
[7] But made himself of no reputation, and took upon him the form of a servant, and was made in the likeness of men:
[8] And being found in fashion as a man, he humbled himself, and became obedient unto death, even the death of the cross.
[9] Wherefore God also hath highly exalted him, and given him a name which is above every name

Milton, Plate 14 [15], (E 108)
"He took off the robe of the promise and ungirded himself from the oath of God.
And Milton said: "I go to Eternal Death The Nations still
Follow after the detestable Gods of Priam [king of Troy], in pomp of Warlike Selfhood."

Milton: plate 14 reads
"----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 and find me unannihilate
And I be seized and given into the hands of my own Selfhood"

Anyone familiar with the gospel story will see biblical allusions and references here.

In Blake's cottage he sees Milton's shadow, a horrible vision:

Milton Plate 37:
"Miltons Shadow heard & condensing all his Fibres
Into a strength impregnable of majesty & beauty infinite
I saw he was the Covering Cherub & within him Satan
And Rahab, ... in the Selfhood deadly
And he appeard the Wicker Man of Scandinavia in whom
Jerusalems children consume in flames among the Stars
Descending down into my Garden, a Human Wonder of God
Reaching from heaven to earth a Cloud & Human Form
I beheld Milton with astonishment & in him beheld
The Monstrous Churches of Beulah, the Gods of Ulro dark
Twelve monstrous dishumanizd terrors Synagogues of Satan.
...
All these are seen in Miltons Shadow who is the Covering Cherub
The Spectre of Albion"

An attempt to translate this visionary poetry into "common sense" might suggest that in Milton's shadow Blake suddenly became immediately aware of all the fallen nature of the world (and his own mind) that had consumed most of his poetry to that point. Now he became aware of all these things, but in the light of a person now full of light.

Back on earth Milton encounters many of the characters whom we met in The Four Zoas. Tirzah and Rahab tempt him; his contest with Urizen has special interest as a record of the resolution of Blake's life long struggle with the things that Urizen represented to him:

"Silent they met and silent strove among the streams of Arnon 
Even to Mahanaim, when with cold hand Urizen stoop'd down
And took up water from the river Jordan, pouring on
To Milton's brain the icy fluid from his broad cold palm.
But Milton took of the red clay of Succoth, moulding it with care
Between his palms and filling up the furrows of many years,
Beginning at the feet of Urizen, and on the bones
Creating new flesh on the Demon cold and building him
As with new clay, a Human form in the Valley of Beth Peor." 

[Milton, Plate 19 [21], (E 112)]

A Bible dictionary, or even better, Damon's Blake Dictionary, will help to clarify the associations with biblical locations. Here we see the old Urizen still trying to freeze the poet's brain, but instead he finds himself being humanized by an emissary from Heaven. Blake is vividly depicting the battle between the forces of positivism and spirit.

Milton meets other obstacles and temptations on his journey, a journey that begins to bear increasing resemblance to that of Bunyan's Pilgrim or even of Jesus himself. He unites with Los and with Blake. He finally meets Satan, confronts him and overcomes him as Jesus had done. These dramatic events give Blake ample opportunity to describe in detail the eternal and satanic dimensions of life, the conflict between the two and the inevitable victory of the eternal. For the first and perhaps the only time Blake is writing a traditional morality story.

This material is autobiographical and written in the honeymoon phase of his new spiritual life. Blake's full meanings yield only to intensive study, but from the beginning there are thrilling lines to delight and inspire the reader. In his esoteric language Blake describes for us what has happened to him, and nothing could be more engrossing for the reader interested in the life of the spirit and in Blake. The relationship of this story to the myth described above should be obvious. But Milton is more real than the previous material because Blake has lived it and writes (and sketches) with spiritual senses enlarged and tuned by his recent experience of grace.

 
A digression occurs in the second half of Book One of Milton, a detailed description of the "World of Los"; it contains much of Blake's most delightful poetry. The reader will remember that in 4Z Los had passed through several stages of development. Beginning as the primitive prophetic boy, he became first disciple and later adversary of Urizen. He bound Urizen into fallen forms of life, then 'became what he beheld'. But in Night VII of the Four Zoas we recall that he embraced his Spectre, actually the Urizen within, and thereupon Los became the hero of the epic.

Letters, To Flaxman, (E 707) 
"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 appeard to me. terrors appeard in the Heavens above And in Hell beneath & a mighty & awful change threatend the Earth The American War began All its dark horrors passed before my face" 

 Milton, Plate 28, [30], (E 126) 
"But others of the Sons of Los build Moments & Minutes & Hours

And Days & Months & Years & Ages & Periods; wondrous buildings   
And every Moment has a Couch of gold for soft repose,
(A Moment equals a pulsation of the artery),
And between every two Moments stands a Daughter of Beulah
To feed the Sleepers on their Couches with maternal care.
And every Minute has an azure Tent with silken Veils.         
And every Hour has a bright golden Gate carved with skill.
And every Day & Night, has Walls of brass & Gates of adamant,
Shining like precious stones & ornamented with appropriate signs:
And every Month, a silver paved Terrace builded high:
And every Year, invulnerable Barriers with high Towers.    
And every Age is Moated deep with Bridges of silver & gold.
And every Seven Ages is Incircled with a Flaming Fire.
Now Seven Ages is amounting to Two Hundred Years
Each has its Guard. each Moment Minute Hour Day Month & Year.
All are the work of Fairy hands of the Four Elements             
The Guard are Angels of Providence on duty evermore
Every Time less than a pulsation of the artery
Is equal in its period & value to Six Thousand Years.

PLATE 29 [31]
For in this Period the Poets Work is Done: and all the Great
Events of Time start forth & are concievd in such a Period
Within a Moment: a Pulsation of the Artery."

THREE CLASSES

 

Wikimedia Commons
Sketch for Illustrations to the Book of Job
Page 16

In following the Bard's Song in Blake's Milton we have looked at the roles played in the prophetic character by Satan, Palamabron and Rintrah. The structure was provided by Satan, the vision was maintained by Palamabron, and Rintrah provided the energy to protect and express the vision. Satan, Palamabron and Rintrah are embodiments of the functions Blake discerned in his analysis of the implementation of prophecy.   
 
Blake developed his understanding of the aspects of the functioning of prophecy by reflecting on his own experience. Blake knew himself to be one who was capable of receiving vision and expressing it in his art and poetry. He knew also that the established order of society was averse to his expressions of rivals to orthodox statements. When Blake tapped the energy to speak forcefully in opposition to whatever conventional organization which was in control, he suffered the consequences of society's repudiation.  

Orthodox religion designated three positions which man may have in relation to God. The Elect were those were accepted by God because they were obedient to his Laws. The Redeemed were those who may be saved if they repented of their wrongdoing and believed. The Transgressors had broken the Law and were condemned to eternal punishment.

Blake redefined the three types. The Elect to him were the conventional law-abiders like the pharisees who prevented the entry of the spirit. The Redeemed were oppressed by the Elect because they were led by the spirit and not the law. The Transgressors or Reprobate were willing to break the law or move outside of the orthodox structure for the sake of the oppressed.  

In this way Blake's category of the Elect was linked to Satan, the Redeemed was linked to Palamabron, and the Reprobate to Rintrah.

Milton, Plate 20 [22], (E 114) 
"So spoke they as in one voice! Silent Milton stood before
The darkend Urizen; as the sculptor silent stands before
His forming image; he walks round it patient labouring.
Thus Milton stood forming bright Urizen, while his Mortal part   
Sat frozen in the rock of Horeb: and his Redeemed portion,
Thus form'd the Clay of Urizen; but within that portion
His real Human walkd above in power and majesty
Tho darkend; and the Seven Angels of the Presence attended him.

O how can I with my gross tongue that cleaveth to the dust,      
Tell of the Four-fold Man, in starry numbers fitly orderd
Or how can I with my cold hand of clay! But thou O Lord
Do with me as thou wilt! for I am nothing, and vanity.
If thou chuse to elect a worm, it shall remove the mountains.
For that portion namd the Elect: the Spectrous body of Milton:   
Redounding from my left foot into Los's Mundane space,
Brooded over his Body in Horeb against the Resurrection
Preparing it for the Great Consummation; red the Cherub on Sinai
Glow'd; but in terrors folded round his clouds of blood.

Now Albions sleeping Humanity began to turn upon his Couch;      
Feeling the electric flame of Miltons awful precipitate descent."

SATAN'S TASK

First posted May 2014 

In the threefold world in which we live, there are three mental states which Blake calls the three Classes of Men. The state of Rintrah whose instrument is the plow, of Palamabron whose instrument is the harrow, and of Satan whose instrument is the mill. The three states are designed to move man through the passage of life to the great harvest in which everything which was dispersed is reassembled according to the great design. 

In their commentary in Milton: A Poem by William Blake, Kay Parkhurst Easson and Roger R. Easson write of the effort Blake made to correct the error Milton made in constructing his character Satan in Paradise lost:

"The first thematic division is the Bard's Song. The Bard shows Milton his error, recognition of which is the first step Milton must take on his journey. Since Milton's error is especially evident within the first division of Paradise Lost, where sin is created from Satan's revolt and subsequent fall from Heaven, the Bard revises Milton's narrative. He transforms sin into error. As the Bard tells it, Satan's error is a misunderstanding of his role in the divine plan. In the divine plan Satan is the agent of fragmentation and death; he is the miller of Eternity, and his mills regulate and make distinct the duration of human life, separating birth from death, youth from age, body from soul. He is therefore 'made subservient to the Great Harvest,' which is Blake's paradoxical metaphor for the continual cultivation of living form within the duration of human life. Satan, however, thinks he can improve on the plan; he thinks he can assume Palamabron's task, the wielding of the Harrow of the Almighty. The Harrow, 'a scheme of Human conduct invisible & incomprehensible' to mortals, also connotes death. This death is a death of the selfhood - part of the spiritual journey - not the death of the body - the result of vengeance as depicted in Paradise Lost. The Harrow represents death as mercy; death as the eternal prerequisite for spiritual growth. When Satan takes over the Harrow, he threatens to replace love and mercy with his false pity and 'officious brotherhood.' Satan, thereby, threatens the destruction of the harvest. He disrupts the eternal labors - the planting and plowing of the fields and the milling of the crops - those labors of mental cultivation which lead to the perception of the infinite in everything, and the corresponding creation of prophecy."  (Page 163)
 

Milton, Plate 25 [27], 122
 "The Elect is one Class: You
Shall bind them separate: they cannot Believe in Eternal Life
Except by Miracle & a New Birth. The other two Classes;
The Reprobate who never cease to Believe, and the Redeemd,       
Who live in doubts & fears perpetually tormented by the Elect
These you shall bind in a twin-bundle for the Consummation--
But the Elect must be saved [from] fires of Eternal Death,
To be formed into the Churches of Beulah that they destroy not the Earth"

British Museum
Jerusalem
Plate 70, Copy A

 Milton, Plate 6, (E 100) 
"And the Three Classes of Men regulated by Los's hammer. 

Plate 7 
The first, The Elect from before the foundation of the World: 
The second, The Redeem'd. The Third, The Reprobate & form'd 
To destruction from the mothers womb: follow with me my plow! 
Of the first class was Satan: with incomparable mildness; 
His primitive tyrannical attempts on Los: with most endearing love 
He soft intreated Los to give to him Palamabrons station;"

Milton, Plate 3, (E 97)     

"They Builded Great Golgonooza Times on Times Ages on Ages
First Orc was Born then the Shadowy Female: then All Los's Family
At last Enitharmon brought forth Satan Refusing Form, in vain
The Miller of Eternity made subservient to the Great Harvest
That he may go to his own Place Prince of the Starry Wheels
Plate 4                      
Beneath the Plow of Rintrah & the harrow of the Almighty
In the hands of Palamabron. Where the Starry Mills of Satan
Are built beneath the Earth & Waters of the Mundane Shell
Here the Three Classes of Men take their Sexual texture Woven
The Sexual is Threefold: the Human is Fourfold     

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 Individ[u]ality
O Satan my youngest born, art thou not Prince of the Starry Hosts
And of the Wheels of Heaven, to turn the Mills day & night?  
Art thou not Newtons Pantocrator weaving the Woof of Locke
To Mortals thy Mills seem every thing & the Harrow of Shaddai
A scheme of Human conduct invisible & incomprehensible
Get to thy Labours at the Mills & leave me to my wrath,"

POLITICS & BARD'S SONG

Reposted from March 2012.

Library of Congress, Rosenwald Collection
Milton, Plate 10
Palamabron, Rintrah & Satan

The stated intention of Satan in the Bard's Song was to exchange places with his brother Palamabron; to take over the more difficult job of ploughing or harrowing, which was Palamabron's daily task, in exchange for Satan's job of operating the mill.

These are some of the conflicts which developed in determining the governence of England, Ireland and Wales in the 17th century:

Catholic vs Protestant, 

monarchy vs commonwealth,

king vs rebel army, 

parliament vs council of state,

will of the people vs military control. 

Now if Blake were addressing the period of time in which Milton lived, he might be talking about an exchange which was made in the political system which did not turn out according to expectations either. A rebel army removed the King from power (beheaded him). Their general, Cromwell, became the head of the government. His intention were 'mild' as were Satan's. But as the Chairman of the Council of State of the Commonwealth, he was unable to control the Parliament, the army or other factions of the nation. Palamabron's horses of the harrow went wild in the hands of Satan, the gnomes of the mill became drunk and disorderly under Palamabron.

Satan (Cromwell) appealed to the Council of the Eternals (the will of the people), whose judgement fell upon Rintrah (the army). Palamabron (Parliament), whose weakness or misjudgement allowed this to happen, was also unable to function in the role of governing to which he was not suited. Satan's assigned task was the operation of the mill which in this analogy would be the operation of government which sometimes came to a standstill when Parliament tried to take control. Rintrah (the army) could control militarily but couldn't create the conditions that would bring about peaceful cooperation which was sorely needed during the interregnum .

Now where does John Milton fit into this. He believed in revolution as the way to end political tyranny and end the enforcement of a state controlled religion. His skills in Latin (which was the language of diplomacy in that day) earned him a job in the revolutionary government. Besides functioning in the diplomatic relations of the state, he served as a spokesman (propagandist) for the policies of government. Military operations did not end with the monarchy; war was the rule not the exception. Milton saw from the inside the accumulation of mistakes which doomed the experiment in republicanism, but he hadn't the power to slow down the forces which were in motion. Until he died Cromwell had Milton's support but Milton's reservations increased as did tyranny within the government.

Blake had favored revolution as a young man but had come to realize that the removal of tyranny by violence would create more violence and more tyranny. He learned primarily from the American and French Revolutions but from the English Civil Wars also. He had come to believe that the chief fault with Greek culture was its devotion to war which was glorified in its poetry. He wanted to give his hero Milton another opportunity to look at his life and writings in the light of where the Prophetic Voice was leading them both. Milton and Blake agreed that liberty of conscience and complete separation of church and state were essentials of good government.

Why does Blake postulate that Milton was so moved by the Bard's Prophetic Song that he undertook a pilgrimage to the underworld? Might it be that Blake recognized that Milton had lived through the expectations, disappointments, reversals and inconsistencies during his association with Cromwell's government. As Blake travelled his journey through life and tried to master the challenges it presented, there would be more that he might learn from Milton and more that he might like to teach him. Blake sets up a scenario in which the two of them together might re-examine the possibilities of preparing for the New Age when all men are prophets. 

Milton, Plate 1, (E 95)
Preface.
"The Stolen and Perverted Writings of Homer & Ovid: of Plato &
Cicero. which all Men ought to contemn: are set up by artifice
against the Sublime of the Bible. but when the New Age is at
leisure to Pronounce; all will be set right: & those Grand Works
of the more ancient & consciously & professedly Inspired Men,
will hold their proper rank, & the Daughters of Memory shall
become the Daughters of Inspiration. Shakspeare & Milton were
both curbd by the general malady & infection from the silly Greek
& Latin slaves of the Sword.

Rouze up O Young Men of the New Age! set your foreheads
against the ignorant Hirelings! For we have Hirelings in the
Camp, the Court, & the University: who would if they could, for
ever depress Mental & prolong Corporeal War."

This period of Britisth history is explored in detail in this website.

STARTING MILTON

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?  
What cause at length mov'd Milton to this unexampled deed[?] 
A Bards prophetic Song! for sitting at eternal tables,
Terrific among the Sons of Albion in chorus solemn & loud 

A Bard broke forth! all sat attentive to the awful man." 

Previously published in 2009 and 2017 as Three Classes

New York Public Library 

Milton 

Plate 8

Palamabron, Rintrah and Satan

From Milton, Plate 25, (E 121):
"The Elect is one Class: You 
Shall bind them separate: they cannot Believe in Eternal Life 
Except by Miracle & a New Birth. The other two Classes;
The Reprobate who never cease to Believe, and the Redeemed, 
Who live in doubts & fears, perpetually tormented by the Elect"

Blake in his characteristic way, uses familiar words in unfamiliar ways. He takes three words from religion: Elect, Redeemed and Reprobate, and redefines them to make us reconsider how God relates to man and how man's psyche functions.
 
The Elect whom we think of as the chosen who have won God's approval become those who "cannot Believe in Eternal Life Except by Miracle & a New Birth".

The Reprobate whom we think of as failures and outcasts become those "who never cease to Believe."

The Redeemed whom we think of as knowing that they have been forgiven for their sins become those "Who live in doubts & fears perpetually tormented by the Elect."

From Ellie:
When I try to connect the Three Classes of Men with aspects of the psyche, this is what I see.The Elect wants to preserve the status quo. The Elect can be equated with the Ego which has charge of the personality, negotiating among the Id, the Superego and the reality principle. The Ego is the boss and decides how to express the personality. (The self-appointed Top Dog.)

The Reprobate are the outsiders, the aspects of the personality which are unrecognized or unacceptable. The Reprobate is parallel to the Shadow in Jung which contains whatever the Ego has rejected and denies expression to. The Shadow contains undiscovered but valuable material.

The expanding or awakening consciousness which is the true human, sometimes referred to as the Identity by Blake, or the Self by Jung, is the Redeemed. The Self connects the Ego, the Shadow and the collective unconscious. The Identity connects Albion, the wholeness of the individual with Eternal wholeness. The process of developing the Self or the Identity is a long struggle of gradually bringing to light hidden material and realigning internal and external relationships.

The psychological approach to studying Blake asks us to look within for congruence between Blake's ideas and the dynamics of our psyches. Blake's myths and images can reveal to us aspects of ourselves; our self-understanding can enrich our reading of Blake.

-----------------------------------------------------

From Larry: 
In Marriage of Heaven and Hell we met two classes: angels and devils. Blake ironically names free spirits as devils and good dutiful church goers (and other establishment types) as angels.

Los and his 'emanation', Enitharmon "bore an enormous race" (not only mankind, but every other created thing as well). But in particular Enitharmon's progeny consists of three classes:

From Milton Plate 7:
The first the Elect from the foundation of the World, symbolized here by Satan.
The second, the Redeem'd, symbolized by Palamabron.
The third, the Reprobate, symbolized by Rintrah.

The Bard's Song begins Blake's description of how these three classes of men relate.

To Rintrah (the just man) was assigned the plow.

To Palamabron, a kind and gentle boy (not a strong minded one), was assigned the harrow.

Satan (Selfhood) was assigned to the mills.

Rintrah and Palamabron are contraries; Satan is a negation.

In the Bard's Song those were the three assignments of Enitharmon's three sons.

A post could be written about the plow (See Damon 329); the plow of Rintrah might be the heated words of the prophet that denounces and breaks up the corrupt establishment. (It might be several other things as well.)

The harrow follows the plow; for Blake it was a metaphor for redemptive poetry.

The Mill symbolizes Reason - conservative: reducing the creative to the commonplace. But it may have been related in Blake's mind with the insidious mills brought about by the Industrial Revolution which impoverished so many people.

Los of course was the father of these three boys, a farmer-- the World being his field. He had expressly forbidden Satan from using the harrow. But Satan wheedled his amicable brother Palamabron into letting him use the harrow.

This led to disaster (the kind of disaster we have all lived under most of our lives).

All this was part of the tale told by the Bard at an Eternal gathering. The Bard's Song induced Milton to forsake heaven and return to the Earth to correct the errors of his mortal life. Milton's adventures in the World with Los and Blake is the subject of Blake's Milton.

There is much more to the Bard's Song, but this will give you a beginning. Learn the Bard's Song, and you will find it much easier to enjoy Milton, the first of Blake's two major works.

BLAKE & DREAMS 6

Wikipedia Commons
Paradise Regained
Christ's troubled sleep

Paradise Regained, Book 4

John Milton

"The Kingdoms of the world to thee I give;
For giv'n to me, I give to whom I please,
No trifle; yet with this reserve, not else, [ 165 ]
On this condition, if thou wilt fall down,
And worship me as thy superior Lord,
Easily done, and hold them all of me;
For what can less so great a gift deserve?
Whom thus our Saviour answer'd with disdain. [ 170 ]
I never lik'd thy talk, thy offers less,
Now both abhor, since thou hast dar'd to utter
The abominable terms, impious condition;
But I endure the time, till which expir'd,
Thou hast permission on me. It is written [ 175 ]
The first of all Commandments, Thou shalt worship
The Lord thy God, and only him shalt serve;
And dar'st thou to the Son of God propound
To worship thee accurst, now more accurst
For this attempt bolder then that on Eve, [ 180 ]
And more blasphemous? which expect to rue
...
So saying, he took (for still he knew his power
Not yet expir'd) and to the Wilderness [ 395 ] 
Brought back the Son of God, and left him there,
Feigning to disappear. Darkness now rose,
As day-light sunk, and brought in lowring night
Her shadowy off-spring, unsubstantial both,
Privation meer of light and absent day. [ 400 ]
Our Saviour meek and with untroubl'd mind
After his aerie jaunt, though hurried sore,
Hungry and cold betook him to his rest,
Wherever, under some concourse of shades
Whose branching arms thick intertwin'd might shield [ 405 ]
From dews and damps of night his shelter'd head,
But shelter'd slept in vain, for at his head
The Tempter watch'd, and soon with ugly dreams
Disturb'd his sleep; and either Tropic now
'Gan thunder; and both ends of Heav'n, the Clouds [ 410 ]
From many a horrid rift abortive pour'd
Fierce rain with lightning mixt, water with fire
In ruine reconcil'd: nor slept the winds
Within thir stony caves, but rush'd abroad
From the four hinges of the world, and fell [ 415 ]
On the vext Wilderness, whose tallest Pines,
Though rooted deep as high, and sturdiest Oaks
Bow'd thir Stiff necks, loaden with stormy blasts,
Or torn up sheer: ill wast thou shrouded then,
O patient Son of God, yet only stood'st [ 420 ]
Unshaken; nor yet staid the terror there,
Infernal Ghosts, and Hellish Furies, round
Environ'd thee, some howl'd, some yell'd, some shriek'd,
Some bent at thee their fiery darts, while thou
Sat'st unappall'd in calm and sinless peace." [ 425 ]

---

It seems that Milton knew that Satan would not approach Jesus only through his ego - through his conscious mind - but would access the unconscious where fears, failures, and hidden secrets might be stored. In Paradise Regained through troubled dreams Jesus was exposed to disturbing events which threatened his calm. Although Milton wrote of natural events of storms, terrors, furries, and fiery darts, Blake pictured a dream of a dark, demented God releasing monstrous serpents.

Blake showed a terrifying aspect of God being encountered in the dream. Later when Blake made illustrations for the book of Job, he pictured on page 11 the frightening event of seeing God as an evil, angry being entwined by a serpent, and surrounded by the elements being released in all their power. When Blake portrayed the 'troubled sleep' of Jesus he showed a weak God who appeared to be more a victim than a victimizer. The ugly God was no threat to Jesus who knew himself to be under the protection of a loving God who is wise, and kind and good and who shielded him from the dark forces such as those which welled up from Job's unconscious.

Jerusalem Bible
Job 33: 14-30
God speaks first in one way, and then in another, but not one notices. He speaks by dreams, and visions that come in the night, when slumber comes on mankind, and men are all asleep in bed. Then it is he whispers in the ear of man, or may frighten him with fearful sights, to turn him away from evil-doing, and make an end of his pride; to save his soul from the pit and his life from the pathway to Sheol. With suffering, too, he corrects man on his sickbed, when his bones keep trembling with palsy; when his whole self is revolted by food, and his appetite spurns dainties; when his flesh rots as you watch it, and his bare bones begin to show; when his soul is drawing near to the pit, and his life to the dwelling of the dead. Then there is an Angel by his side, a Mediator, chosen out of thousands, to remind a man where his duty lies, to take pity on him and to say, "Release him from descent into the pit, for I have found a ransom for his life"; his flesh recovers the bloom of its youth, he lives again as he did when he was young. He prays to God who has restored him to favor, and comes, in happiness, to see his face. He publishes far and wide the news of his vindication, singing before his fellow men this hymn of praise, "I sinned and left the path of right, but God has not punished me as my sin deserved. He has spared my soul from going down into the pit, and is allowing my life to continue in the light." All this God does again and yet again for man, rescuing his soul from the pit, and letting the light of life shine bright on him.

Songs of Innocence and of Experience, Song 5, (E 7)  
"The Shepherd.
How sweet is the Shepherds sweet lot,
From the morn to the evening he strays:
He shall follow his sheep all the day
And his tongue shall be filled with praise.

For he hears the lambs innocent call,
And he hears the ewes tender reply,
He is watchful while they are in peace,
For they know when their Shepherd is nigh."

Songs of Experience, Song 34, (E 20)
"The Little Girl Lost
...
Sweet sleep come to me
Underneath this tree;
Do father, mother weep.--
Where can Lyca sleep.

Lost in desart wild
Is your little child.
How can Lyca sleep,
If her mother weep.

If her heart does ake, 
Then let Lyca wake;
If my mother sleep,
Lyca shall not weep.

Frowning frowning night,
O'er this desart bright,
Let thy moon arise,
While I close my eyes.

Sleeping Lyca lay;
While the beasts of prey,

Come from caverns deep, 
View'd the maid asleep

The kingly lion stood
And the virgin view'd,
Then he gambold round
O'er the hallowd ground;

SONGS 35
Leopards, tygers play,
Round her as she lay;
While the lion old,
Bow'd his mane of gold.

And her bosom lick,
And upon her neck,
From his eyes of flame,
Ruby tears there came;

While the lioness,
Loos'd her slender dress,
And naked they convey'd
To caves the sleeping maid."  

---

Look closely at the lower right hand corner of this image for Paradise Regained and you will see that Blake included the head of a lion. Blake was indicating that the protection of the lion would be manifest when fearful, threating dark forces make their appearance.

---

Marriage of Heaven and Hell, Plate 8, (E 36)

"The roaring of lions, the howling of wolves, the raging of the
    stormy sea,    and the destructive sword. are portions of
    eternity too great for the eye of man."    

How Firm a Foundation   

1

How firm a foundation, ye saints of the Lord,
Is laid for your faith in His excellent word!
What more can He say than to you He hath said,
To you who for refuge to Jesus have fled?

2

“Fear not, I am with thee, O be not dismayed,
For I am thy God, and will still give thee aid;
I’ll strengthen thee, help thee, and cause thee to stand,
Upheld by My righteous, omnipotent hand.”

3

“When through the deep waters I call thee to go,
The rivers of sorrow shall not overflow;
For I will be with thee, thy troubles to bless,
And sanctify to thee thy deepest distress.”

4

“When through fiery trials thy pathway shall lie,
My grace, all sufficient, shall be thy supply;
The flame shall not hurt thee; I only design
Thy dross to consume, and thy gold to refine.”

5

“E’en down to old age all My people shall prove
My sovereign, eternal, unchangeable love;
And then, when grey hairs shall their temples adorn,
Like lambs they shall still in My bosom be borne.”

6

“The soul that on Jesus hath leaned for repose,
I will not, I will not desert to his foes;
That soul, though all hell should endeavor to shake,
I’ll never, no, never, no, never forsake!”

.