WAR IN HEAVEN

National Gallery of Art

The Great Red Dragon and the Woman Clothed with the Sun, c. 1805

Revelation12

[1] And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars:
[2] And she being with child cried, travailing in birth, and pained to be delivered.
[3] And there appeared another wonder in heaven; and behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads.
[4] And his tail drew the third part of the stars of heaven, and did cast them to the earth: and the dragon stood before the woman which was ready to be delivered, for to devour her child as soon as it was born.
[5] And she brought forth a man child, who was to rule all nations with a rod of iron: and her child was caught up unto God, and to his throne.
[6] And the woman fled into the wilderness, where she hath a place prepared of God, that they should feed her there a thousand two hundred and threescore days.
[7] And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels,
[8] And prevailed not; neither was their place found any more in heaven.
[9] And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.
[10] And I heard a loud voice saying in heaven, Now is come salvation, and strength, and the kingdom of our God, and the power of his Christ: for the accuser of our brethren is cast down, which accused them before our God day and night.
[11] And they overcame him by the blood of the Lamb, and by the word of their testimony; and they loved not their lives unto the death.
[12] Therefore rejoice, ye heavens, and ye that dwell in them. Woe to the inhabiters of the earth and of the sea! for the devil is come down unto you, having great wrath, because he knoweth that he hath but a short time.
[13] And when the dragon saw that he was cast unto the earth, he persecuted the woman which brought forth the man child.
[14] And to the woman were given two wings of a great eagle, that she might fly into the wilderness, into her place, where she is nourished for a time, and times, and half a time, from the face of the serpent. 

VISION OF ST JOHN

The book of Revelation was important to Blake for multiple reasons. Primarily as a book of visions which Blake himself experienced as communications from God. Furthermore John of Patmos was giving an account of the new world which would replace the world of sin and death in which we live. Blake used the sleep of Albion as a symbol for the "passage through Eternal Death" until the breath Divine begins the process of restoration of the unity of all things. 

John of Patmos and William Blake both used symbolic language to convey spiritual truth.

Jerusalem, Plate 4, (E 146)
"Of the Sleep of Ulro! and of the passage through
Eternal Death! and of the awaking to Eternal Life.

This theme calls me in sleep night after night, & ev'ry morn
Awakes me at sun-rise, then I see the Saviour over me
Spreading his beams of love, & dictating the words of this mild song.  

Awake! awake O sleeper of the land of shadows, wake! expand!
I am in you and you in me, mutual in love divine:
Fibres of love from man to man thro Albions pleasant land.
In all the dark Atlantic vale down from the hills of Surrey
A black water accumulates, return Albion! return!                
Thy brethren call thee, and thy fathers, and thy sons,
Thy nurses and thy mothers, thy sisters and thy daughters
Weep at thy souls disease, and the Divine Vision is darkend:"

Four Zoas, Night VII, Page 87, (E 369)

"But This Union
Was not to be Effected without Cares & Sorrows & Troubles
Of six thousand Years of self denial and of bitter Contrition

Revelation 21

[22] And I saw no temple therein: for the Lord God Almighty and the Lamb are the temple of it.
[23] And the city had no need of the sun, neither of the moon, to shine in it: for the glory of God did lighten it, and the Lamb is the light thereof.
[24] And the nations of them which are saved shall walk in the light of it: and the kings of the earth do bring their glory and honour into it.
[25] And the gates of it shall not be shut at all by day: for there shall be no night there.
[26] And they shall bring the glory and honour of the nations into it.

British Museum

St John the Evangelist before a vision of Christ

This is the passage illustrated by the image:

Revelation 1

[9] I John, who also am your brother, and companion in tribulation, and in the kingdom and patience of Jesus Christ, was in the isle that is called Patmos, for the word of God, and for the testimony of Jesus Christ.
[10] I was in the Spirit on the Lord's day, and heard behind me a great voice, as of a trumpet,
[11] Saying, I am Alpha and Omega, the first and the last: and, What thou seest, write in a book, and send it unto the seven churches which are in Asia; unto Ephesus, and unto Smyrna, and unto Pergamos, and unto Thyatira, and unto Sardis, and unto Philadelphia, and unto Laodicea.
[12] And I turned to see the voice that spake with me. And being turned, I saw seven golden candlesticks;
[13] And in the midst of the seven candlesticks one like unto the Son of man, clothed with a garment down to the foot, and girt about the paps with a golden girdle.
[14] His head and his hairs were white like wool, as white as snow; and his eyes were as a flame of fire;
[15] And his feet like unto fine brass, as if they burned in a furnace; and his voice as the sound of many waters.
[16] And he had in his right hand seven stars: and out of his mouth went a sharp twoedged sword: and his countenance was as the sun shineth in his strength.
[17] And when I saw him, I fell at his feet as dead. And he laid his right hand upon me, saying unto me, Fear not; I am the first and the last:
[18] I am he that liveth, and was dead; and, behold, I am alive for evermore, Amen; and have the keys of hell and of death.
[19] Write the things which thou hast seen, and the things which are, and the things which shall be hereafter;
[20] The mystery of the seven stars which thou sawest in my right hand, and the seven golden candlesticks. The seven stars are the angels of the seven churches: and the seven candlesticks which thou sawest are the seven churches.

Hebrews 4

[12] For the word of God is quick, and powerful, and sharper than any twoedged sword, piercing even to the dividing asunder of soul and spirit, and of the joints and marrow, and is a discerner of the thoughts and intents of the heart.

In Ego and Archetype, Edward F Edinger wrote this about signs and symbols on page 109:

"Man needs a world of symbols as well as a world of signs. Both sign and symbol are necessary but should not be confused with one another. A sign is a token of meaning that stands for a known entity. By this definition, language is a system of signs, not symbols. A symbol on the other hand, is an image or representation which points to something essentially unknown, a mystery. A sign conveys abstract,objective meaning whereas a symbol conveys living, subjective meaning. A symbol has a subjective dynamism which exerts a powerful attraction and fascination on the individual. It is a living, organic entity which acts as a releaser and transformer of psychic energy. We may say that a sign is dead, but a symbol is alive.

...

The archetypal psyche is constantly creating a steady stream of living symbolic imagery. Ordinarily this stream of images is not consciously perceived except through dreams or through waking fantasy when the conscious level of attention has been lowered. However, there is reason to believe that even in the full waking state this system of symbols charged with effective energy continues to flow beyond the notice of the ego."  

These are the passages in which Blake mentioned Patmos or Revelations:

 Milton, Plate 40 [46], (E 141) 

"No sooner she had spoke but Rahab Babylon appeard
Eastward upon the Paved work across Europe & Asia
Glorious as the midday Sun in Satans bosom glowing:
A Female hidden in a Male, Religion hidden in War        
Namd Moral Virtue; cruel two-fold Monster shining bright
A Dragon red & hidden Harlot which John in Patmos saw

And all beneath the Nations innumerable of Ulro
Appeard, the Seven Kingdoms of Canaan & Five Baalim
Of Philistea. into Twelve divided, calld after the Names      
Of Israel: as they are in Eden. Mountain. River & Plain
City & sandy Desart intermingled beyond mortal ken

But turning toward Ololon in terrible majesty Milton
Replied. Obey thou the Words of the Inspired Man
All that can be annihilated must be annihilated

That the Children of Jerusalem may be saved from slavery"

Four Zoas, Night VIII, Page 114, (E 385) 

"And Los & Enitharmon took the Body of the Lamb 
Down from the Cross & placd it in a Sepulcher which Los had hewn
For himself in the Rock of Eternity trembling & in despair 
Jerusalem wept over the Sepulcher two thousand Years
PAGE 115 [111] 
Rahab triumphs over all she took Jerusalem
Captive A Willing Captive by delusive arts impelld
To worship Urizens Dragon form to offer her own Children
Upon the bloody Altar. John Saw these things Reveald in Heaven
On Patmos Isle & heard the Souls cry out to be deliverd 
He saw the Harlot of the Kings of Earth & saw her Cup
Of fornication food of Orc & Satan pressd from the fruit of Mystery
But when she saw the form of Ahania weeping on the Void
And heard Enions voice sound from the caverns of the Grave
No more spirit remained in her She secretly left the Synagogue of Satan" 

Jerusalem, Plate 48, (E 196)

"In silence the Divine Lord builded with immortal labour,         
Of gold & jewels a sublime Ornament, a Couch of repose,
With Sixteen pillars: canopied with emblems & written verse.
Spiritual Verse, order'd & measur'd, from whence, time shall reveal.
The Five books of the Decologue, the books of Joshua & Judges,
Samuel, a double book & Kings, a double book, the Psalms & Prophets 
The Four-fold Gospel, and the Revelations everlasting" 

Vision of Last Judgment, Page 80, (E 558) 

"Four Angels descend headlong  with four trumpets to
awake the Dead. beneath these is the Seat of the Harlot <namd>
Mystery in the Revelations.  She is [bound] siezed by
Two Beings each with three heads they Represent Vegetative
Existence. <as> it is written in Revelations they strip her naked
& burn her with fire <it represents the Eternal Consummation of
Vegetable Life & Death with its Lusts  The wreathed Torches in
their hands represents Eternal Fire which is the fire of
Generation or Vegetation it is an Eternal Consummation Those who
are blessed with Imaginative Vision see This Eternal Female &
tremble at what others fear not while they <despise &> laugh at
what others fear> <Her Kings & Councellors & Warriors descend in
Flames Lamenting & looking upon her in astonishment & Terror. &
Hell is opend beneath her Seat on the Left hand>. beneath her
feet is a flaming Cavern in which is seen the Great Red Dragon
with Seven heads & ten Horns [who] <he has Satans book
of Accusations lying on the rock open before him> <he> is bound
in chains by Two strong demons they are Gog & Magog" 

Vision of Last Judgment, Page 83, (E 561)

 "The Cloud that opens rolling apart before the throne &
before the New Heaven & the New Earth is Composed of Various
Groupes of Figures particularly the Four Living Creatures
mentiond in Revelations as Surrounding the Throne these I suppose
to have the chief agency in removing the 
old heavens & the old Earth to make way for the New Heaven & the
New Earth to descend from the throne of God & of the Lamb. that
Living Creature on the Left of the Throne Gives to the Seven
Angels the Seven Vials of the wrath of God <with> which they
hovering over the Deeps beneath pour out upon the wicked their
Plagues the Other Living Creatures are descending with a Shout &
with the Sound of the Trumpet Directing the Combats in the upper
Elements" 

LAST JUDGMENT 4

(For detail of image, right click on picture, select open in a new window, click on image, close window to return)  

National Gallery of Art
The Last Judgment
Pen & Ink drawing
1809

In Blake's images of the Last Judgment he was portraying the passage of man through states. The individuals in the images are not distinct humans but mental conditions through which a person may pass along his journey. We each have an image of oneself. When we reflect on our lives we may recognize that we are not the same person we were previously. For instance when I was a student in college I was focused on my own intellectual development. As young mother of three little boys I turned toward nurturing the growth of the children who were in my care. I have passed through various states without relinquishing my identity as a Soul created in the image of God.

Along our journeys we may fall into states of selfishness, greed, prejudice, guilt, hostility, self-righteousness or other errors which cause a falling away from the Truth which is Eternal. Blake's image of the Last Judgment shows that falling away when an individual has entered a state of error. But the individual is not consigned to remain in hell; he may be released to continue in the upward phase of the cycle. States are a mercy which are created that man may become aware of his error and may be delivered to his Eternal Humanity.

On page 153 of Golgonnoza, Kathleen Raine states:

"The heavens, the hells, all the possible states of the soul, are ever present possibilities through which men pass. Blake did not believe that either the heavens or hells are once-for-all assigned to human souls, but rather that man is a 'mental traveller' who explores all the possible states...But lost though he be in the hells, the Traveller is not is not bound to remain in these dark states.

"...it will be seen that I do not consider either the Just or the Wicked to be in a Supreme State but to be every one of them States of the Sleep which the Soul may fall into in its Deadly Dreams of Good & Evil when it leaves Paradise following the Serpent" (E 641)

... The 'State called Satan' cannot be redeemed, but individuals can be redeemed from that state. There is, besides, a 'supreme state,' and this is the Divine Humanity, who is, for Blake, the God within."

Jerusalem, Plate 49, (E 199)
"Yet they are blameless & Iniquity must be imputed only           
To the State they are enterd into that they may be deliverd:
Satan is the State of Death, & not a Human existence:
But Luvah is named Satan, because he has enterd that State.
A World where Man is by Nature the enemy of Man
Because the Evil is Created into a State. that Men               
May be deliverd time after time evermore. Amen.
Learn therefore O Sisters to distinguish the Eternal Human
That walks about among the stones of fire in bliss & woe
Alternate! from those States or Worlds in which the Spirit travels:
This is the only means to Forgiveness of Enemies" 

Milton, Plate 23 [25], (E 119)
"We were plac'd here by the Universal Brotherhood & Mercy
With powers fitted to circumscribe this dark Satanic death
And that the Seven Eyes of God may have space for Redemption.
But how this is as yet we know not, and we cannot know;
Till Albion is arisen; then patient wait a little while,"

Jerusalem, Plate 13, (E 157)
(But whatever is visible to the Generated Man,
Is a Creation of mercy & love, from the Satanic Void.)"  

Jerusalem, Page 20, (E 165)
"Jerusalem answer'd with soft tears over the valleys.

O Vala what is Sin? that thou shudderest and weepest
At sight of thy once lov'd Jerusalem! What is Sin but a little
Error & fault that is soon forgiven; but mercy is not a Sin
Nor pity nor love nor kind forgiveness! O! if I have Sinned      
Forgive & pity me! O! unfold thy Veil in mercy & love!

Jerusalem, Plate 42, (E 198)
"O! I have utterly been wasted! I have given my daughters to devils

So spoke Albion in gloomy majesty, and deepest night
Of Ulro rolld round his skirts from Dover to Cornwall.

Los answerd. Righteousness & justice I give thee in return
For thy righteousness! but I add mercy also, and bind            
Thee from destroying these little ones: am I to be only
Merciful to thee and cruel to all that thou hatest?
Thou wast the Image of God surrounded by the Four Zoa's
Three thou hast slain! I am the Fourth: thou canst not destroy me.
Thou art in Error; trouble me not with thy righteousness.      
I have innocence to defend and ignorance to instruct:
I have no time for seeming; and little arts of compliment,
In morality and virtue: in self-glorying and pride."

Jerusalem, Plate 76, (E 231)
"But Jesus breaking thro' the Central Zones of Death & Hell
Opens Eternity in Time & Space; triumphant in Mercy

Thus are the Heavens formd by Los within the Mundane Shell
And where Luther ends Adam begins again in Eternal Circle
To awake the Prisoners of Death; to bring Albion again           
With Luvah into light eternal, in his eternal day.

But now the Starry Heavens are fled from the mighty limbs of Albion"

---

Michelangelo and states.

.

 

LAST JUDGMENT 2

Wikipedia Commons
Michelangelo's Last Judgment
Detail of Jesus

On Page 148 of Golgoonoza Kathleen Raine explains the background of the culture in which Michelangelo worked on his image of the Last Judgment. His Jesus was the product of the religious mindset of Renaissance Italy in which he lived. The Reformation was underway but Jesus was still perceived a figure of wrath not mercy.

"The vision of the Apocalypse was for Michelangelo and for his time rather one of terror and of this world's ruin rather than of spiritual resurrection. So it has remained in the imagination of Christendom as a whole, and so it must be always for this secular world, whose foundations are to be shaken and overthrown. That Michelangelo's figure of Jesus comes rather as a figure of wrath than of serenity clearly reflects Michelangelo's own political bitterness at the Roman See.

...Michelangelo's vision considers the great event from the standpoint of this world."

National Gallery of Art Washington DC
Last Judgment

c 1809
Pen and Ink

Reine tells us on Page 149 of Golgonooza of the contrary perspective of Blake in presenting the Son of God. "Jesus is less a supreme ruler than a permeating presence, the heart of the great circulation of human figures ascending and descending in unbroken flow from the heavens down to the hells, and again rising upwards into the heavens.

...Blake's Jesus is not so much an individual as the heart of the light which emanates from a divine center."

---

There are several images of the Last Judgment by Blake which still exist including a drawing and watercolor images . He worked on a large image said to include "upwards of one thousand figures" in "exquisite finishing" until the end of his life but it is untraced since 1848. (Stranger from Paradise, G. E. Bentley, Jr, Page 355)

The pen and ink drawing in the National Gallery of Art can be viewed in detail by opening in a new window. -
Rt click on image, select open in a new window, left click on image for enlargement. Use directional arrows to view specific areas of the picture. Close window to return.

The image in the National Gallery is closest to the description which Blake wrote in a letter to his friend Ozias Humphry.

---

The Design of The Last Judgment, (E 552)

          "To Ozias Humphry Esqre

     The Design of The Last Judgment which I have completed by
your recommendation [under a fortunate star] for The
Countess of Egremont [by a happy accident] it is
necessary to give some account of & its various parts ought to be
described for the accomodation of those who give it the honor of
attention
     Christ seated on the Throne of judgment [The Heavens in
Clouds rolling before him & around him] before his feet &
around him the heavens in clouds are rolling like a scroll ready
to be consumed in the fires of the Angels who descend  
with the Four Trumpets sounding to
the Four Winds
     Beneath  Earth is convulsed with the labours
of the Resurrection--in the Caverns of the Earth is the Dragon
with Seven heads & ten Horns chained by two Angels & above his
Cavern on the Earths Surface is the Harlot siezed & bound by
two Angels with chains while her Palaces are falling
into ruins & her councellors & warriors are
descending into the Abyss in wailing & despair
     Hell opens beneath the Harlots seat on the left hand into
which the Wicked are descending [while others rise from their
Craves on the brink of the Pit]
     The right hand of the Design is appropriated to the
Resurrection of the Just the left hand of the Design is
appropriated to the Resurrection & Fall of the Wicked

     Immediately before the Throne of Christ is Adam & Eve
kneeling in humiliation as representatives of the whole Human
Race   Abraham & Moses kneel on each side beneath them from the
cloud on which Eve kneels [ & beneath Moses & from the Tables
of Stone which utter lightnings] is seen Satan wound round
by the Serpent & falling headlong the Pharisees appear on the
left hand pleading their own righteousness before the Throne of
Christ & before the Book of Death which is opend on clouds by two
Angels & many groupes of Figures are falling from before the
Throne & from before the Sea of Fire which flows before the steps
of the Throne on which is seen the seven Lamps of
the Almighty burning before the Throne many Figures chained &
bound together & in various attitudes of Despair & Horror fall
thro the air & some are scourged by Spirits with flames of fire
into the Abyss of Hell which opens [to recieve them]
beneath on the left hand of the Harlots Seat where others are
howling & [descending into the flames & in the act of]
dragging each other into Hell & in contending in
fighting with each other on the brink of
Perdition
     Before the Throne of Christ on the Right hand the Just in
humiliation & in exultation rise thro the Air with their Children
& Families some of whom are bowing before the Book of Life which
is opend on clouds by two
Angels many groupes arise in 
exultation among them is a Figure crownd with Stars & the Moon
beneath her feet with six infants around her She represents the
Christian Church   Green hills appear beneath with
the Graves of the Blessed which are seen bursting with their
births of immortality Parents & Children Wives & Husbands embrace
& arise together & in exulting attitudes of great joy tell each
other that the New Jerusalem is ready to descend upon Earth they
arise upon the Air rejoicing others newly awakend from the Grave
stand upon the Earth embracing. & shouting to the Lamb who cometh
in the Clouds in Power & great Glory
     The Whole upper part of the Design is a View of Heaven
opened around the Throne of Christ in the Cloud which rolls away
are the Four Living Creatures filled with Eyes attended by the
Seven Angels with the Seven Vials of the Wrath of God & above
these  Seven Angels with the Seven Trumpets
these compose the Cloud which by its rolling
away displays the opening seats of the Blessed on the right &
left of which are seen the Four & Twenty Elders seated on Thrones
to Judge the Dead
     Behind the Seat & Throne of Christ appears
the Tabernacle with its Veil opened & the Candlestick
on the right the Table with the Shew bread on the left & in
[the] midst is the Cross in place of the Ark [with
the two] Cherubim bowing over it
     On the Right hand of the Throne of Christ is Baptism On
the left is the Lords Supper the two introducers
into Eternal Life    Women with Infants approach the Figure of an
aged Apostle which represents

Baptism & on the left hand the Lords Supper is administerd by
Angels from the hands of another  Apostle these
kneel on each side of the Throne which is surrounded by a Glory
many Infants appear in the Glory
representing the Eternal Creation flowing from the Divine
Humanity in Jesus who opens the Scroll of Judgment upon his knees
before the Living & the Dead
     Such is the Design which you my Dear Sir have been the cause
of my producing & which but for you might have slept till the
Last Judgment

                                                 WILLIAM BLAKE
[18 January 1808] Feby 1808"

 

LAST JUDGMENT

Wikipedia Commons

Michelangelo

Last Judgment

Sistine Chapel

Wikimedia Commons 
The Vision of the Last Judgment
Petworth House, The National Trust

William Blake and Michelangelo each created images of the Last Judgment. Despite Blake's admiration for Michelangelo, he interpreted the scene in a different style to portray different content. Michelangelo's primary art was his sculpting which influenced his painting. Blake was trained as an engraver which determined the way that he painted.

Michelangelo's figures have bulk and weight while Blake's are light and flowing. The physical body is displayed by Michelangelo, the ethereal body by Blake. The image of Jesus shown by Michelangelo is that of a human man in the center of the drama. Blake's Jesus is clothed in light and reigns in heaven removed from the earthly activity. 

Kathleen Raine in Golgonooza: City of Imagination states that "in comparing Blake's Vision of the Last Judgment with that of Michelangelo - to whom Blake was so obviously and so deeply indebted - we are comparing a historical and ecclesiastical with a mystical understanding of the Apocalypse. As we compare the works of these two great Christian artists, each totally dedicated to the religion they professed, we discover that the many differences of overall conception and of detail do correspond to differences in each 'according to the situation he holds.'"(Page 145)

Vision of the Last Judgment, (E 554)
"The Last Judgment when all those are Cast away who trouble
Religion with Questions concerning Good & Evil or Eating of the
Tree of those Knowledges or Reasonings which hinder the Vision of
God turning all into a Consuming fire    Imaginative Art &
Science & all Intellectual Gifts all the Gifts of the Holy Ghost
are lookd upon as of no use & only Contention
remains to Man   then the Last Judgment begins & its Vision is seen
by the Imaginative Eye of Every one according to the
situation he holds
    The Last Judgment is not Fable or Allegory
but Vision"

Descriptive Catalogue, (E 544)
 "Poetry as it exists
now on earth, in the various remains of ancient authors, Music as
it exists in old tunes or melodies, Painting and Sculpture as it
exists in the remains of Antiquity and in the works of more
modern genius, is Inspiration, and cannot be surpassed; it is
perfect and eternal.  Milton, Shakspeare, Michael Angelo, Rafael,
the finest specimens of Ancient Sculpture and Painting, and
Architecture, Gothic, Grecian, Hindoo and Egyptian, are the
extent of the human mind.  The human mind cannot go beyond the
gift of God, the Holy Ghost.  To suppose that Art can go beyond
the finest specimens of Art that are now in the world, is not
knowing what Art is; it is being blind to the gifts of the
spirit." 

BOOK OF REVELATION

Wikipedia Commons
The Great Red Dragon and the Woman Clothed in the Sun

Revelation 12 

[1] And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars:

[2] And she being with child cried, travailing in birth, and pained to be delivered.
[3] And there appeared another wonder in heaven; and behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads.
[4] And his tail drew the third part of the stars of heaven, and did cast them to the earth: and the dragon stood before the woman which was ready to be delivered, for to devour her child as soon as it was born.
[5] And she brought forth a man child, who was to rule all nations with a rod of iron: and her child was caught up unto God, and to his throne.
[6] And the woman fled into the wilderness, where she hath a place prepared of God, that they should feed her there a thousand two hundred and threescore days.
[7] And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels,
[8] And prevailed not; neither was their place found any more in heaven.
[9] And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.

From Larry Clayton's Ram Horn'd with Gold, Chapter 6 - Bible - Revelation.

       To understand the last book of the Bible the reader must have achieved a certain level of consciousness. He must have at least a rudimentary grasp of the eternal and a certain feel for symbols, especially those metaphors of time and space that point to eternal truth. Without this equipment the Apocalypse is commonly read either as a grotesque phantasmagoria or as a convenient coat-rack upon which to hang a fabric of theological inanity.

       John of Patmos, the writer of the Apocalypse, had been a bishop of the Church, a man of authority, a man of action, a man who had committed himself with a whole heart to actualizing the ideals of Jesus of Nazareth. John had seen his religious program overwhelmed by a heartless political structure, his congregation scattered, and himself exiled to a small island where he had little to do but reflect upon the past and gaze into the future.

       In his reflections John was informed by an intimate knowledge of scripture. The vivid images of the Hebrew writers ignited his imagination. They took the place of the people and events which had formerly filled his mind. The seven eyes of God, the plagues, the beasts from the sea and from the land, the harlot, the Lamb, the bride, the new heaven and the new earth-- all these and many more of John's images originate in various books of the Old Testament.

       Northrup Frye referred to Revelation as "a dense mosaic of allusions and quotations" from the Bible. The Apocalypse is an imaginative recreation of the entire Hebrew religious consciousness in an epic that carries us to the end of time and the return of man to the golden age.

       Blake attempted to do the same thing with the English religious consciousness, which explains why Revelation meant so much to him. His epic can just as rightly be called a "dense mosaic of allusions and quotations" from the Bible. In particular he seized upon John's images and combined them into the stuff of his prophetic poems.

       When Christ ascended into Heaven, he left his disciples with the expectation that he would soon return (See John 21:22). The writer of Revelation had lived through the years when this hope was increasingly deferred. It became more and more apparent that the return of Jesus was not within the time frame of their original expectations. John outlived his associates, and he differed from the other New Testament writers in that he was forced to look beyond the immediate events and their immediately expected outcome.

       He was forced to look into a more complex future. The rigor of this necessity freed him from the limited time frame that characterizes most of the New Testament. He knew the Old Testament truth that "a thousand years in thy sight are but as yesterday". He of all the writers of the New Testament had been most significantly disappointed in his temporal hopes and forced to lift his mind from time to the eternal. That's why his is the most symbolic book, and that's why it most appealed to Blake.

       Blake used all of the symbols we have just noted and many others as well. He had brooded over these images for a life time, and they were fraught with meaning to him. They conveyed to him not only John's meanings but the original meanings of the O.T. writers from whom John had borrowed them, plus untold accretions of additional meanings acquired in the two millennia since.

       It's doubtful that John's images mean to anyone today exactly what they meant to him. That's the nature of the symbols of eternity: their temporal meanings change with the times. Our religious consciousness changes with the times; even our images of God change with the times--not just in the historical frame but in the personal frame of a man's lifetime.

       Blake took the images of Revelation--and of the rest of the Bible as well--and recreated them so as to express the evolving spiritual consciousness of his day, and ours. The images link us to our heritage, the consciousness evolves, the Spirit is timeless.

       Two of the primary images of Revelation are the "the Woman Clothed with the Sun" and the "great whore that sitteth upon many waters".  Much of the interest of John's epic lies in the conflict between these two women; they respectively represent spiritual Jerusalem and spiritual Rome. The first woman is driven into the wilderness by the Great Red Dragon; the Whore sits upon his back. But in due time the Whore is burned (much to the satisfaction of the faithful) while the other woman becomes the Bride of the Lamb.

       A minimal knowledge of this symbolism prepares one to appreciate Blake's use of the same images to tell the same story. 'The Four Zoas' was first called 'Vala': she is the woman with whom Blake began, and she originally included both of John's women. But the Moment of Grace released in Blake the vision of Jerusalem, and the long poem bearing her name recounts her suffering at the hands of the other, who gradually evolves into the Whore.

       Like John's woman clothed with the sun Jerusalem is driven into the wilderness and continually oppressed and afflicted by the forces of the Beast and the Whore. Vala, eventually manifested as Rahab, is finally burned; the scene in The Four Zoas at the end of Night viii, contains one of Blake's most explicit and extended quotations from Revelation.

   Here as in all of Blake's work he takes the biblical material, and while remaining largely faithful to its accidents, shows us new essence. Part of the final essence of Jerusalem is that her name is Liberty (Jerusalem plate 26), another manifestation of Blake's most vital lesson for us.

Four Zoas, Night VIII, PAGE 115 [111], (E 386)
"Rahab triumphs over all she took Jerusalem
Captive A Willing Captive by delusive arts impelld

To worship Urizens Dragon form to offer her own Children
Upon the bloody Altar. John Saw these things Reveald in Heaven
On Patmos Isle & heard the Souls cry out to be deliverd 
He saw the Harlot of the Kings of Earth & saw her Cup
Of fornication food of Orc & Satan pressd from the fruit of Mystery
But when she saw the form of Ahania weeping on the Void
And heard Enions voice sound from the caverns of the Grave
No more spirit remained in her She secretly left the Synagogue of Satan
She commund with Orc in secret She hid him with the flax
That Enitharmon had numberd away from the Heavens  
She gatherd it together to consume her Harlot Robes    
In bitterest Contrition sometimes Self condemning repentant
And Sometimes kissing her Robes & jewels & weeping over them 
Sometimes returning to the Synagogue of Satan in Pride
And Sometimes weeping before Orc in humility & trembling
The Synagogue of Satan therefore uniting against Mystery
Satan divided against Satan resolvd in open Sanhedrim
To burn Mystery with fire & form another from her ashes 
For God put it into their heart to fulfill all his will

The Ashes of Mystery began to animate they calld it Deism
And Natural Religion as of old so now anew began
Babylon again in Infancy Calld Natural Religion"

Milton, Plate 37[41], (E 138)
"Abraham, Moses, Solomon, Paul, Constantine, Charlemaine
Luther, these seven are the Male-Females, the Dragon Forms
Religion hid in War, a Dragon red & hidden Harlot

All these are seen in Miltons Shadow who is the Covering Cherub
The Spectre of Albion in which the Spectre of Luvah inhabits     
In the Newtonian Voids between the Substances of Creation"
Jerusalem, Plate 53, (E 203)
"But the Spectre like a hoar frost & a Mildew rose over Albion    
Saying, I am God O Sons of Men! I am your Rational Power!
Am I not Bacon & Newton & Locke who teach Humility to Man!
Who teach Doubt & Experiment & my two Wings Voltaire: Rousseau.
Where is that Friend of Sinners! that Rebel against my Laws!
Who teaches Belief to the Nations, & an unknown Eternal Life     
Come hither into the Desart & turn these stones to bread.
Vain foolish Man! wilt thou believe without Experiment?
And build a World of Phantasy upon my Great Abyss!
A World of Shapes in craving Lust & devouring appetite

So spoke the hard cold constrictive Spectre he is named Arthur   
Constricting into Druid Rocks round Canaan Agag & Aram & Pharoh

Then Albion drew England into his bosom in groans & tears
But she stretchd out her starry Night in Spaces against him. like
A long Serpent, in the Abyss of the Spectre which augmented
The Night with Dragon wings coverd with stars & in the Wings     
Jerusalem & Vala appeard: & above between the Wings magnificent
The Divine Vision dimly appeard in clouds of blood weeping."

Jerusalem, Plate 93. (E 253)
 "Then Los again took up his speech as Enitharmon ceast

Fear not my Sons this Waking Death. he is become One with me
Behold him here! We shall not Die! we shall be united in Jesus.
Will you suffer this Satan this Body of Doubt that Seems but Is Not 
To occupy the very threshold of Eternal Life. if Bacon, Newton, Locke,
Deny a Conscience in Man & the Communion of Saints & Angels
Contemning the Divine Vision & Fruition, Worshiping the Deus
Of the Heathen, The God of This World, & the Goddess Nature
Mystery Babylon the Great, The Druid Dragon & hidden Harlot    
Is it not that Signal of the Morning which was told us in the Beginning

Thus they converse upon Mam-Tor. the Graves thunder under their feet"

DESCRIPTIONS OF THE LAST JUDGMENT, To Ozias Humphry, (E 552)
 "Beneath Earth is convulsed with the labours
of the Resurrection--in the Caverns of the Earth is the Dragon
with Seven heads & ten Horns chained by two Angels & above his
Cavern on the Earths Surface is the Harlot siezed & bound by
two Angels with chains while her Palaces are falling
into ruins & her councellors & warriors are
descending into the Abyss in wailing & despair
     Hell opens beneath the Harlots seat on the left hand into
which the Wicked are descending [while others rise from their
Craves on the brink of the Pit]
     The right hand of the Design is appropriated to the
Resurrection of the Just the left hand of the Design is
appropriated to the Resurrection & Fall of the Wicked"

 

TIME'S END

Time was a subject that interested Blake. He applied himself to developing an understanding of time beyond the simple sequence of moments flowing from past to future. Susan Fox, in Poetic Forms in Blake's Milton, showed how Blake used the device of simultaneity to demonstrate the mutability of time. Most impressive to me was her insight into understanding that the 'visionary moment' when 'past and future are joined' represented an end to time in the same sense that time ended when the Seventh Seal was broken in the Book of Revelation. As Blake wrote: Poetic Work is conceived and accomplished in that moment which transcends ordinary time as time is breached and eternity entered.
 
Poetic Forms in Blake's Milton, Susan Fox, Page 17:
  "Each of two the books of the poem [Milton] offers a range of perspectives on the central action from Eden to Ulro and from remembered past to foretold future, but in each all perspectives focus on a single instant, the instant of the purgation and union of Milton and Ololon, the instant in which past and future are joined in the abolition of time. Even those events in the poem which are clearly antecedent to its main action,  the events of the Bard's Song and the creation of Beulah, are described as the action occurs: Milton decides to descend as he hears the Bard sing (and we shall see, his decision is identical with his descent), and the Daughters of Beulah sing their history as Ololon descends. Milton's descent is both simultaneous and identical with Ololon's descent; all the other actions of the poem, past and present, are merely component actions of the focal event.
  The instant of their descents is the culmination of what Blake describes at the end of Book I as a kind of visionary moment:

"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."
Milton, (E 127)

 ... All the actions of the poem occur in the last measurable segment of the moment, the last fragment of time itself, the instant before apocalypse puts an end to time."

Wikipedia Commons Angel of Revelation

Rev.10
[1] And I saw another mighty angel come down from heaven, clothed with a cloud: and a rainbow was upon his head, and his face was as it were the sun, and his feet as pillars of fire:
[2] And he had in his hand a little book open: and he set his right foot upon the sea, and his left foot on the earth,
[3] And cried with a loud voice, as when a lion roareth: and when he had cried, seven thunders uttered their voices.
[4] And when the seven thunders had uttered their voices, I was about to write: and I heard a voice from heaven saying unto me, Seal up those things which the seven thunders uttered, and write them not.
[5] And the angel which I saw stand upon the sea and upon the earth lifted up his hand to heaven,

[6] And sware by him that liveth for ever and ever, who created heaven, and the things that therein are, and the earth, and the things that therein are, and the sea, and the things which are therein, that there should be time no longer:

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LAMB OF GOD

The phrase Lamb of God appears only twice in the Bible, both times in the Gospel of John.

John 1
[29] The next day John [the Baptist] seeth Jesus coming unto him, and saith, Behold the Lamb of God, which taketh away the sin of the world.
[36] And looking upon Jesus as he walked, he saith, Behold the Lamb of God!

Most of the occurrences of the word lamb in the New Testament are in the Book of Revelations. The lamb of the Book of Revelations is unique to the vision of John of Patmos, incorporating aspects of the Christ but including characteristics of the of a vindictive God. The use of Lamb of God by Blake is distinctive also. Blake uses the term Lamb of God to express the eternal dimension of Jesus who is the incarnation. The Lamb of God is the essence being incarnated.

John in his gospel calls attention to Lamb of God as he who takes away the sins of the world. Blake's desire to emphasize the concept of forgiveness rather than repentance or retribution make the Lamb of God the perfect symbol for the essence of God's activity among men. God's Lamb accepted the role of assuming the robes of blood sacrificing his position among the Eternals to live in generation among men.

For Blake the Lamb of God is not the manifest incarnation; that is Jesus whose life in the world of generation is recorded in the Gospels.

Percival in William Blake's Circle of Destiny explains the relationship between Urthona and Los as similar to that between the Lamb of God and Jesus. "Los is finite and temporal; Urthona is eternal. Urthona is the capacity and indomitable will to imagine which makes man human. In the exercise of that capacity man falls to the level of Los, but the capacity remains unimpaired...[Urthona] provides an imperishable reality independent of all that is finite and temporal." (Page 144)

Milton, PLATE 13 [14], (E 107)
"For then the Body of Death was perfected in hypocritic holiness,

Around the Lamb, a Female Tabernacle woven in Cathedrons Looms
He died as a Reprobate. he was Punish'd as a Transgressor!
Glory! Glory! Glory! to the Holy Lamb of God
I touch the heavens as an instrument to glorify the Lord!"

Milton, PLATE 14 [15], (E108)
"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"

Jerusalem, Plate 7, (E 150)
"And the Religion of Generation which was meant for the destruction
Of Jerusalem, become her covering, till the time of the End.
O holy Generation! [Image] of regeneration!
O point of mutual forgiveness between Enemies!
Birthplace of the Lamb of God incomprehensible!
The Dead despise & scorn thee, & cast thee out as accursed:
Seeing the Lamb of God in thy gardens & thy palaces:
Where they desire to place the Abomination of Desolation."

Jerusalem, Plate 20, (E 165)
"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!"

Jerusalem, Plate 25, (E 170)
"As the Sons of Albion have done to Luvah: so they have in him
Done to the Divine Lord & Saviour, who suffers with those that suffer:
For not one sparrow can suffer, & the whole Universe not suffer also,
In all its Regions, & its Father & Saviour not pity and weep.
But Vengeance is the destroyer of Grace & Repentance in the bosom
Of the Injurer: in which the Divine Lamb is cruelly slain:
Descend O Lamb of God & take away the imputation of Sin
By the Creation of States & the deliverance of Individuals Evermore Amen"

Four Zoas, PAGE 18, (E 321)
"Why is the Sheep given to the knife? the Lamb plays in the Sun
He starts! he hears the foot of Man! he says, Take thou my wool
But spare my life, but he knows not that winter cometh fast.

They weighd & orderd all & Urizen comforted saw
The wondrous work flow forth like visible out of the invisible
For the Divine Lamb Even Jesus who is the Divine Vision
Permitted all lest Man should fall into Eternal Death
For when Luvah sunk down himself put on the robes of blood
Lest the state calld Luvah should cease. & the Divine Vision
Walked in robes of blood till he who slept should awake"

Four Zoas, PAGE 104 (FIRST PORTION), (E 376)
"And Enitharmon namd the Female Jerusa[le]m the holy
Wondring she saw the Lamb of God within Jerusalems Veil
The divine Vision seen within the inmost deep recess
Of fair Jerusalems bosom in a gently beaming fire

Then sang the Sons of Eden round the Lamb of God & said
Glory Glory Glory to the holy Lamb of God
Who now beginneth to put off the dark Satanic body
Now we behold redemption Now we know that life Eternal
Depends alone upon the Universal hand & not in us
Is aught but death In individual weakness sorrow & pain

The Lamb of God descended thro the twelve portions of Luvah
Bearing his sorrows & rec[iev]ing all his cruel wounds"

Four Zoas, PAGE 110 [106] (FIRST PORTION), (E 379)
"Thus was the Lamb of God condemnd to Death
They naild him upon the tree of Mystery weeping over him
And then mocking & then worshipping calling him Lord & King
Sometimes as twelve daughters lovely & sometimes as five
They stood in beaming beauty & sometimes as one even Rahab
Who is Mystery Babylon the Great the Mother of Harlots"

Four Zoas, Page 110 [106], (E 379)
"Jerusalem saw the Body dead upon the Cross She fled away
Saying Is this Eternal Death Where shall I hide from Death
Pity me Los pity me Urizen & let us build
A Sepulcher & worship Death in fear while yet we live
Death! God of All from whom we rise to whom we all return
And Let all Nations of the Earth worship at the Sepulcher
With Gifts & Spices with lamps rich embossd jewels & gold

Los took the Body from the Cross Jerusalem weeping over
They bore it to the Sepulcher which Los had hewn in the rock
Of Eternity for himself he hewd it despairing of Life Eternal

But when Rahab had cut off the Mantle of Luvah from
The Lamb of God it rolld apart, revealing to all in heaven
And all on Earth the Temple & the Synagogue of Satan & Mystery"
Four Zoas, PAGE 122, (E 391)
"And the Eternal Man Said Hear my words O Prince of Light

Behold Jerusalem in whose bosom the Lamb of God
Is seen tho slain before her Gates he self renewd remains
Eternal & I thro him awake to life from deaths dark vale
The times revolve the time is coming when all these delights
Shall be renewd & all these Elements that now consume
Shall reflourish."

Four Zoas, Page 122, (E 391)
"Regenerate She & all the lovely Sex
From her shall learn obedience & prepare for a wintry grave
That spring may see them rise in tenfold joy & sweet delight
Thus shall the male & female live the life of Eternity
Because the Lamb of God Creates himself a bride & wife
That we his Children evermore may live in Jerusalem"
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