Monday, April 12, 2021

BIOGRAPHY 1

This is a portion of Larry's Ram Horn'd with Gold.

Wikipedia Commons
Gates of Paradise 
Frontispiece

CHAPTER ONE
  Spiritual Biography
       The artist, Samuel Palmer, who knew our poet well, called him a man without a mask. With an acquaintance based only upon Blake's Songs of Innocence the reader may well agree. His later mythological poems in contrast appear cryptic and enigmatic. Nevertheless at the deepest level Blake was utterly transparent. The myth which he created faithfully reflects his life. Like a symphony or a quartet, myth and life had four movements.

       Begin with a childhood innocence recapitulating the dawn of the race, the primeval Garden of Paradise. Every loved child has this experience. In Blake's life it was protracted by a strange set of circumstances pointing to a peculiar, almost unique quality of love. We socialize children through the painful laying down of the law, but Blake's parents seem to have reared him with an absolute minimum of fear, a minimum of law, of prohibitions. The young Blake was considerate, aware of the needs of others, but not coerced. We know little about his childhood, but the shape of his mind points compellingly to these circumstances. Throughout his childhood and adolescence his psyche was largely protected from the destructive influences of the world, although he was very much a part of it.

       The inevitable fall, when it did occur, proved all the more traumatic. A youth with his head full of heaven came up against the sudden realization that earthly life is directed, ruled, and regulated by those at the other end of the cosmos. The rulers of this world are by and large the most devoted and loyal servants of the God of this World. The young, idealistic, sensitive poet and artist experienced this sinking realization suddenly and acutely. Thereafter the most gruesome visions of fallenness filled the pages of his creations. (The same could be said of Isaiah or Jeremiah.) Taking their cue from Blake's popular 'Songs' the critics have called this stage 'experience', but a more illuminating and descriptive term is 'fallenness'.

       The third stage embodies struggle. He who lives in the fallen world without becoming a worldling learns to fight back in some way. He develops defense mechanisms; he learns to preserve his individuality short of martyrdom. To some extent he defies the God of this World, and he pays a price for that defiance. On the basis of his ironies in The Marriage of Heaven and Hell Blake has been called a Satanist, but that evaluation reflects a shallow grasp of his true moral stance. With MHH Blake discovered new powers of expression which he used to fight the true satanic kingdom, the fallen order of society in which he lived.

       For the fortunate few there comes a moment when grace reaches consciousness and glorifies the struggle. It's the moment when one realizes that truth is on the side of the angels, and he is one of them. He meets a God to whom he can give his allegiance. Once he was on the losing side with his defense mechanisms and his defiance; suddenly he realizes that the universe is basically okay, and he's in tune with it. Happy the person who makes that glad discovery. It came to Blake at 43 with a fundamental alteration of consciousness.

       As a new man Blake became a gospel preacher and a Christian prophet. He had always possessed the most intense faith in his vision; now he gained the ability to make it good news, at least to himself and to a few devoted artists, themselves relatively unaffected by the downward drag. They caught the gleam in his eye and the lilt in his voice as he sang his songs. What more could a man hope for than a small group, perhaps twelve or so, tuned and attentive to the truth which he embodies with his life? That was the Saviour's lot, too.

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O why was I born with a different face? (from the poem, Mary, in The Pickering Manuscript, Erdman p. 487)      

Blake was different from earliest times, and he knew it well. Partly it was innate: his sheer intellectual quotient had to be awesome. The concept of a spiritual quotient (in a child!) is problematic, but in this case it should be looked at. A unique upbringing removed him further from his contemporaries. And finally he inhabited a social environment very different from anything we know today.

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How Did He Get That Way


FIRST: he came into the world with a tremendous endowment; some people are simply born with unusual gifts. SECOND: Leaving school on the first day his mind was never subjected to the indoctrination most of us got from our teachers. "The primary object of primary education is to socialize the pupil to the conventions of the culture we belong to." That never happened to Blake. Instead he .... THIRD: he read! and read! and read! He read the things that had fallen out of the national consciousness which was dominated by an extremely materialistic culture: the Bible, Behmen (Boehme) and hundreds of others, each in his own way representing the Perennial Philosophy. And he saw the Great Painters, not those favored by the Establishment. FOURTH: the population didn't read anything beyond the fourth grade level. When Paine asked Blake if people read him, he replied, "before the people can read it, they have to be able to read" (very much like today!). So there was a chasm between his mind and theirs (and ours).

The aforementioned video shows Tom Paine represented as the soul of rationality and Bill Blake the feeling, and above all the imagination. So Blake's relationships were with God: Meister Eckhart, Mohammed, Isaiah, Ezekiel, Boehme, Jesus, other men who had had similar visions. He honored God with the "severe contentions of friendship & the burning fire of thought." (Jerusalem Plate 91, E 251) His faith came up the hard way: Molech, Elohim, Nobodaddy, Urizen, and finally the Dear Saviour. How many of us good people can say we came to our faith like that?

Thank God we have the benefit of Blake's experience.

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At the age of four young William ran screaming from his nursery to report to his mother that he had seen God looking in the window. That was the first of many such bizarre confrontations. (They went on for forty years before he satisfactorily and definitively identified God.) A happier event occurred at the age of eight when he sighted a tree full of angels. Eagerly he reported this vision as well; this would have earned him paternal chastisement except for the intercession of a compassionate mother. No doubt he learned from the experience that in social intercourse one must take into account differences of perceptibility.


       We know little about Blake's parents, but their care of him proves unusual understanding; they must have been fully aware that they had a genius on their hands. Perhaps their most important decision came on William's first day in school. In accordance with prevailing pedagogical custom the schoolmaster severely birched a student. Young Blake, acting upon his keen sense of moral outrage, rose from his desk and made an immediate exit. It was his first and last experience with formal education. His father showed amazing respect for the child's judgment.

  That decision meant that Blake missed the usual brainwashing, or call it social conditioning, that modern psychologists understand as the primary function of general education. It meant that he never learned to think society's way. Instead he thought, he saw, heard, tasted, and touched through his own doors of perception,  and they retained their childlike clarity throughout his life. Child, youth, or old man he always knew whether or not the emperor had clothes on.

       Instead of school he directed his own education, primarily centered in the Bible. In the place of ordinary social conditioning Blake was Bible soaked. The stories of Ezra and Ezekiel were as real to him as childhood games. He must have known large portions of the Bible word for word because line after line, digested, assimilated, and recreated, appear in the poetry he wrote throughout his life. You can bet that made a difference!  

       Although by no means wealthy Blake's father enrolled him at the age of ten in Pars Drawing School. He intended to give the boy first class training as an artist, but William with characteristic sensitivity declined to be favored this way at the expense of his brothers. Instead he proposed apprenticeship to an engraver, a more modest financial undertaking. His father took him to see William Ryland, the Royal engraver, and prepared to put down a princely sum for the apprenticeship, but the child objected on the basis of Ryland's looks; he told his father that he thought the man would live to be hanged. Once again the elder Blake respected the child's judgment, and sure enough, twelve years later Ryland was hanged for forgery.

       At fourteen Blake began a seven year apprenticeship with James Basire, an old fashioned but respectable engraver. Blessed with understanding parents the young artist was equally fortunate in his choice of a master. Basire, too, carefully preserved the boy's individuality and sensitivity against the downward drag of the world. When he found his other apprentices exploiting Blake's innocence, he sent the child to Westminster Abbey to sketch the gothic art found there.

 

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