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Arlington Tempera
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First posted by Larry January 16, 2015
Blake was a highly symbolic poet (and painter); to understand much of his thought requires acquaintance with a body of symbols that go back to the dawn of civilization, and up to the 19th century. In an age when only the material seemed to matter Blake was (and continues to be) highly opaque to the pure materialist. Such a person will find most of Blake's ideas meaningless.
But at the deepest level his ideas are the veritable stuff of life: love and hate, good and evil, life and death, and many ideas with urgent meaning. A high proportion of people prefer to turn aside from these questions, but you can be sure that their unconscious is full of them.
Above all Blake is about matter and spirit, at the great dividing line: do you see yourself primarily as a body or as spirit?
Begin with the conclusion, to be supported by an overwhelming body of evidence stretching from Heraclitus in the 6th century BC to the present:Our mortal life is a vale of tears to which we have lapsed from Eternity and from which we will (may?) eventually escape back into the Higher Realm. This myth conforms very closely to the Gnostics, the Platonists, and of course most of Eastern Religion. In the Christian tradition one can find vestiges of it in many of the mystics, notably Meister Eckhart, in Mexican folk culture and in fact universally.
The western mind revolts from this "never-never land" at least on the conscious level, but Freud, Jung, and many other psychologists find strong evidence for it in the unconscious. At this point many readers may dismiss Blake's myth as not worth their attention.
The select few who remain may rightfully expect an entirely new world of grace and enchantment to open before their minds. The Biblically oriented may perceive that all Blake's poetic and artistic work fits into a scheme of cosmic/psychic meaning; closely following the Bible it describes the pattern of Paradise, the Fall, a gradual redemption, and the final Rapture.
Understanding Blake's myth can be expedited by the study of Blake's women. A most significant key to Blake's symbolism came to light only in 1947 when Arlington Court was bequeathed to the British National Trust. Among the furnishings there was a large tempera by Blake, called alternatively The Sea of Time and Space or The Cave of the Nymphs. This treasure had been hidden from public eyes for a century.
(Most of us are unlikely to see the original, but Blake and Antiquity by Kathleen Raine offers several glimpses of the picture with a detailed account of the symbols it contains. There is no better way to begin an understanding of Blake at the deeper level than to read carefully and study this small and accessible book.)
The picture contains the essential symbolism of Blake's myth; the theme goes back to Homer, then to Plato and Porphyry. (To understand Blake's myth one would be well advised to study this link with care--at least the first part of Taylor's article.)
Blake and Taylor were approximately the same age and as young men close friends. Many people think that Taylor introduced Blake to the Platonic and Neoplatonic traditions. It seems certain that Taylor's On the Homeric Cave of the Nymphs deeply influenced the painting of the Arlington Tempera. It also introduced a great number of the most common symbols used in Blake's myth; they were used over and over throughout Blake's work.
Another good introduction to Blake's myth is The Marriage of Heaven and Hell. It comes from an angry young man pouring his scorn on the conventions that cripple us; the language is pungent, the words are pointed, provocative, and outrageous.
A conventional person will find this whole work offensive and repulsive, but the young person at the stage of life where he's ready to kick over the traces, is quickly attracted-- if he has enough wit to understand irony and not take everything at face value.
We might call it an ironic satire. In 1789 Blake was 32, at the height of his physical (though perhaps not mental) powers. He had experienced the Divine Vision. He knew it was meant for mankind, but so far limited to Jesus and a few others. But with the advent of the French Revolution he foresaw its spread throughout the world. (Of course in that he was soon doomed to disappointment-- with the appearance of Madame Guillotine.) Nevertheless with a peak of spiritual exuberance he proceeded to announce the coming New Age:
Marriage of Heaven and Hell, Plate 14, (E 39)The ancient tradition that the world will be consumed in fire
at the end of six thousand years is true. as I have heard fromHell. For the cherub with his flaming sword is hereby commanded toleave his guard at the tree of life, and when he does, the wholecreation will be consumed, and appear infinite. and holy whereasit now appears finite & corrupt...If the doors of perception were cleansed every thing wouldappear to man as it is: infinite.For man has closed himself up, till he sees all things thro' narrow chinks of his cavern.
Europe, Plate 10, (E 63)
In thoughts perturb'd, they rose from the bright ruins silent following
The fiery King, who sought his ancient temple serpent-form'dThat stretches out its shady length along the Island white.Round him roll'd his clouds of war; silent the Angel went,Along the infinite shores of Thames to golden Verulam.
There stand the venerable porches that high-towering rear Their oak-surrounded pillarsTheir oak-surrounded pillars, form'd of massy stones, uncutWith tool; stones precious; such eternal in the heavens,Of colours twelve, few known on earth, give light in the opake,Plac'd in the order of the stars, when the five senses whelm'd In deluge o'er the earth-born manIn deluge o'er the earth-born man; then turn'd the fluxile eyesInto two stationary orbs, concentrating all things.The ever-varying spiral ascents to the heavens of heavensWere bended downward; and the nostrils golden gates shutTurn'd outward, barr'd and petrify'd against the infinite.
Thought chang'd the infinite to a serpent; that which pitieth:
To a devouring flame; and man fled from its face and hid In forests of nightIn forests of night; then all the eternal forests were dividedInto earths rolling in circles of space, that like an ocean rush'd And overwhelmed all except this finite wall of fleshAnd overwhelmed all except this finite wall of flesh.
Then was the serpent temple form'd, image of infiniteShut up in finite revolutions, and man became an Angel;Heaven a mighty circle turning; God a tyrant crown'd. Now arriv'd the ancient Guardian at the southern porch,That planted thick with trees of blackest leaf, & in a valeObscure, inclos'd the Stone of Night; oblique it stood, o'erhungWith purple flowers and berries red; image of that sweet south, Once open to the heavens and elevated on the human neck,Now overgrown with hair and coverd with a stony roof,Downward 'tis sunk beneath th' attractive north, that round the feet
A raging whirlpool draws the dizzy enquirer to his grave:"
For this gem Blake drew upon Genesis and Plato.
.
Blake was a highly symbolic poet (and painter); to understand much of his thought requires acquaintance with a body of symbols that go back to the dawn of civilization, and up to the 19th century. In an age when only the material seemed to matter Blake was (and continues to be) highly opaque to the pure materialist. Such a person will find most of Blake's ideas meaningless.
But at the deepest level his ideas are the veritable stuff of life: love and hate, good and evil, life and death, and many ideas with urgent meaning. A high proportion of people prefer to turn aside from these questions, but you can be sure that their unconscious is full of them.
Above all Blake is about matter and spirit, at the great dividing line: do you see yourself primarily as a body or as spirit?
Begin with the conclusion, to be supported by an overwhelming body of evidence stretching from Heraclitus in the 6th century BC to the present:Our mortal life is a vale of tears to which we have lapsed from Eternity and from which we will (may?) eventually escape back into the Higher Realm. This myth conforms very closely to the Gnostics, the Platonists, and of course most of Eastern Religion. In the Christian tradition one can find vestiges of it in many of the mystics, notably Meister Eckhart, in Mexican folk culture and in fact universally.
The western mind revolts from this "never-never land" at least on the conscious level, but Freud, Jung, and many other psychologists find strong evidence for it in the unconscious. At this point many readers may dismiss Blake's myth as not worth their attention.
The select few who remain may rightfully expect an entirely new world of grace and enchantment to open before their minds. The Biblically oriented may perceive that all Blake's poetic and artistic work fits into a scheme of cosmic/psychic meaning; closely following the Bible it describes the pattern of Paradise, the Fall, a gradual redemption, and the final Rapture.
Understanding Blake's myth can be expedited by the study of Blake's women. A most significant key to Blake's symbolism came to light only in 1947 when Arlington Court was bequeathed to the British National Trust. Among the furnishings there was a large tempera by Blake, called alternatively The Sea of Time and Space or The Cave of the Nymphs. This treasure had been hidden from public eyes for a century.
(Most of us are unlikely to see the original, but Blake and Antiquity by Kathleen Raine offers several glimpses of the picture with a detailed account of the symbols it contains. There is no better way to begin an understanding of Blake at the deeper level than to read carefully and study this small and accessible book.)
The picture contains the essential symbolism of Blake's myth; the theme goes back to Homer, then to Plato and Porphyry. (To understand Blake's myth one would be well advised to study this link with care--at least the first part of Taylor's article.)
Blake and Taylor were approximately the same age and as young men close friends. Many people think that Taylor introduced Blake to the Platonic and Neoplatonic traditions. It seems certain that Taylor's On the Homeric Cave of the Nymphs deeply influenced the painting of the Arlington Tempera. It also introduced a great number of the most common symbols used in Blake's myth; they were used over and over throughout Blake's work.
Another good introduction to Blake's myth is The Marriage of Heaven and Hell. It comes from an angry young man pouring his scorn on the conventions that cripple us; the language is pungent, the words are pointed, provocative, and outrageous.
A conventional person will find this whole work offensive and repulsive, but the young person at the stage of life where he's ready to kick over the traces, is quickly attracted-- if he has enough wit to understand irony and not take everything at face value.
We might call it an ironic satire. In 1789 Blake was 32, at the height of his physical (though perhaps not mental) powers. He had experienced the Divine Vision. He knew it was meant for mankind, but so far limited to Jesus and a few others. But with the advent of the French Revolution he foresaw its spread throughout the world. (Of course in that he was soon doomed to disappointment-- with the appearance of Madame Guillotine.) Nevertheless with a peak of spiritual exuberance he proceeded to announce the coming New Age:
Marriage of Heaven and Hell, Plate 14, (E 39)The ancient tradition that the world will be consumed in fire
at the end of six thousand years is true. as I have heard fromHell. For the cherub with his flaming sword is hereby commanded toleave his guard at the tree of life, and when he does, the wholecreation will be consumed, and appear infinite. and holy whereasit now appears finite & corrupt...If the doors of perception were cleansed every thing wouldappear to man as it is: infinite.For man has closed himself up, till he sees all things thro' narrow chinks of his cavern.
Europe, Plate 10, (E 63)
In thoughts perturb'd, they rose from the bright ruins silent following
The fiery King, who sought his ancient temple serpent-form'dThat stretches out its shady length along the Island white.Round him roll'd his clouds of war; silent the Angel went,Along the infinite shores of Thames to golden Verulam.
There stand the venerable porches that high-towering rear Their oak-surrounded pillarsTheir oak-surrounded pillars, form'd of massy stones, uncutWith tool; stones precious; such eternal in the heavens,Of colours twelve, few known on earth, give light in the opake,Plac'd in the order of the stars, when the five senses whelm'd In deluge o'er the earth-born manIn deluge o'er the earth-born man; then turn'd the fluxile eyesInto two stationary orbs, concentrating all things.The ever-varying spiral ascents to the heavens of heavensWere bended downward; and the nostrils golden gates shutTurn'd outward, barr'd and petrify'd against the infinite.
Thought chang'd the infinite to a serpent; that which pitieth:
To a devouring flame; and man fled from its face and hid In forests of nightIn forests of night; then all the eternal forests were dividedInto earths rolling in circles of space, that like an ocean rush'd And overwhelmed all except this finite wall of fleshAnd overwhelmed all except this finite wall of flesh.
Then was the serpent temple form'd, image of infiniteShut up in finite revolutions, and man became an Angel;Heaven a mighty circle turning; God a tyrant crown'd. Now arriv'd the ancient Guardian at the southern porch,That planted thick with trees of blackest leaf, & in a valeObscure, inclos'd the Stone of Night; oblique it stood, o'erhungWith purple flowers and berries red; image of that sweet south, Once open to the heavens and elevated on the human neck,Now overgrown with hair and coverd with a stony roof,Downward 'tis sunk beneath th' attractive north, that round the feet
A raging whirlpool draws the dizzy enquirer to his grave:"
For this gem Blake drew upon Genesis and Plato.
.
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