William Blake
William Blake in an 1807 portrait by Thomas Phillips.
Born	(1757-11-28)28 November 1757 London, England
Died	12 August 1827(1827-08-12) (aged 69) London, England
Occupation	Writer(poet), painter, printmaker
Genres	Visionary, poetry
Literary movement	Romanticism
Notable work(s)	Songs of Innocence and of Experience, The Marriage of Heaven and Hell, The Four Zoas, Jerusalem, Milton a Poem, And did those feet in ancient time
Spouse(s)	Catherine Blake (1782–1831)
Influences The Bible, Dante Alighieri, John Milton, Emanuel Swedenborg, Jakob Böhme, Mary Wollstonecraft, Henry Fuseli
Influenced Samuel Palmer, William Butler Yeats, Northrop Frye, Ralph Vaughan Williams, Hart Crane, Kahlil Gibran, Allen Ginsberg, W.S. Merwin, Patti Smith, Raoul Vaneigem, John Gardner, Clive Barker, Kenzaburo Oe, Paulo Coelho, Jim Morrison, Aldous Huxley, Bob Dylan, Ben Okri

William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of both the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language".^[1] His visual artistry has led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced".^[2] Although he lived in London his entire life except for three years spent in Felpham^[3] he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God",^[4] or "Human existence itself".^[5]

Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterised as part of both the Romantic movement and "Pre-Romantic",^[6] for its large appearance in the 18th century. Reverent of the Bible but hostile to the Church of England – indeed, to all forms of organised religion – Blake was influenced by the ideals and ambitions of the French and American revolutions,^[7] as well as by such thinkers as Jakob Böhme and Emanuel Swedenborg.^[8] Despite these known influences, the singularity of Blake's work makes him difficult to classify. The 19th-century scholar William Rossetti characterised Blake as a "glorious luminary,"^[9] and as "a man not forestalled by predecessors, nor to be classed with contemporaries, nor to be replaced by known or readily surmisable successors".^[10]

Early life[link]

A plaque at William Blake House, a modern block of flats at 28 Broadwick St where Blake was born and lived until he was 25.

William Blake was born on 28 November 1757 at 28 Broad Street (now Broadwick St) in the Soho district of London. He was the third of seven children,^[11][12] two of whom died in infancy. Blake's father, James, was a hosier.^[12] William attended school only long enough to learn reading and writing, leaving at the age of ten, and was otherwise educated at home by his mother Catherine Wright Armitage Blake.^[13] The Blakes were Dissenters, and are believed to have belonged to the Moravian Church. The Bible was an early and profound influence on Blake, and would remain a source of inspiration throughout his life.

Blake started engraving copies of drawings of Greek antiquities purchased for him by his father, a practice that was then preferred to actual drawing. Within these drawings Blake found his first exposure to classical forms through the work of Raphael, Michelangelo, Marten Heemskerk and Albrecht Dürer. His parents knew enough of his headstrong temperament that he was not sent to school but was instead enrolled in drawing classes. He read avidly on subjects of his own choosing. During this period, Blake was also making explorations into poetry; his early work displays knowledge of Ben Jonson and Edmund Spenser.

Apprenticeship to Basire[link]

The archetype of the Creator is a familiar image in Blake's work. Here, the demiurgic figure Urizen prays before the world he has forged. The Song of Los is the third in a series of illuminated books painted by Blake and his wife, collectively known as the Continental Prophecies.

On 4 August 1772, Blake became apprenticed to engraver James Basire of Great Queen Street, for the term of seven years.^[12] At the end of this period, at the age of 21, he was to become a professional engraver. No record survives of any serious disagreement or conflict between the two during the period of Blake's apprenticeship. However, Peter Ackroyd's biography notes that Blake was later to add Basire's name to a list of artistic adversaries—and then cross it out.^[14] This aside, Basire's style of engraving was of a kind held to be old-fashioned at the time,^[15] and Blake's instruction in this outmoded form may have been detrimental to his acquiring of work or recognition in later life.

After two years, Basire sent his apprentice to copy images from the Gothic churches in London (perhaps to settle a quarrel between Blake and James Parker, his fellow apprentice). His experiences in Westminster Abbey helped form his artistic style and ideas. The Abbey of his day was decorated with suits of armour, painted funeral effigies, and varicoloured waxworks. Ackroyd notes that "...the most immediate [impression] would have been of faded brightness and colour".^[16] In the long afternoons Blake spent sketching in the Abbey, he was occasionally interrupted by the boys of Westminster School, one of whom "tormented" Blake so much one afternoon that he knocked the boy off a scaffold to the ground, "upon which he fell with terrific Violence".^[17] Blake beheld more visions in the Abbey, of a great procession of monks and priests, while he heard "the chant of plain-song and chorale."

Royal Academy[link]

On 8 October 1779, Blake became a student at the Royal Academy in Old Somerset House, near the Strand. While the terms of his study required no payment, he was expected to supply his own materials throughout the six-year period. There, he rebelled against what he regarded as the unfinished style of fashionable painters such as Rubens, championed by the school's first president, Joshua Reynolds. Over time, Blake came to detest Reynolds' attitude towards art, especially his pursuit of "general truth" and "general beauty". Reynolds wrote in his Discourses that the "disposition to abstractions, to generalising and classification, is the great glory of the human mind"; Blake responded, in marginalia to his personal copy, that "To Generalize is to be an Idiot; To Particularize is the Alone Distinction of Merit".^[18] Blake also disliked Reynolds' apparent humility, which he held to be a form of hypocrisy. Against Reynolds' fashionable oil painting, Blake preferred the Classical precision of his early influences, Michelangelo and Raphael.

David Bindman suggests that Blake's antagonism towards Reynolds arose not so much from the president's opinions (like Blake, Reynolds held history painting to be of greater value than landscape and portraiture), but rather "against his hypocrisy in not putting his ideals into practice."^[19] Certainly Blake was not averse to exhibiting at the Royal Academy, submitting works on six occasions between 1780 and 1808.

Blake became friends with John Flaxman, Thomas Stothard and George Cumberland during his first year at the Royal Academy. They shared radical views, with Stothard and Cumberland joining the Society for Constitutional Information.^[20]

Gordon Riots[link]

Blake's first biographer, Alexander Gilchrist, records that in June 1780 Blake was walking towards Basire's shop in Great Queen Street when he was swept up by a rampaging mob that stormed Newgate Prison in London.^[21] They attacked the prison gates with shovels and pickaxes, set the building ablaze, and released the prisoners inside. Blake was reportedly in the front rank of the mob during this attack. These riots, in response to a parliamentary bill revoking sanctions against Roman Catholicism, later came to be known as the Gordon Riots. They provoked a flurry of legislation from the government of George III, as well as the creation of the first police force.

Despite Gilchrist's insistence that Blake was "forced" to accompany the crowd, some biographers have argued that he accompanied it impulsively, or supported it as a revolutionary act.^[22] In contrast, Jerome McGann argues that the riots were reactionary, and that events would have provoked "disgust" in Blake.^[23]

Oberon, Titania and Puck with Fairies Dancing (1786)

Marriage and early career[link]

Blake met Catherine Boucher in 1782. At the time, Blake was recovering from a relationship that had culminated in a refusal of his marriage proposal. He recounted the story of his heartbreak for Catherine and her parents, after which he asked Catherine, "Do you pity me?" When she responded affirmatively, he declared, "Then I love you." Blake married Catherine – who was five years his junior – on 18 August 1782 in St. Mary's Church, Battersea. Illiterate, Catherine signed her wedding contract with an 'X'. The original wedding certificate may still be viewed at the church, where a commemorative stained-glass window was installed between 1976 and 1982.^[24] Later, in addition to teaching Catherine to read and write, Blake trained her as an engraver. Throughout his life she would prove an invaluable aid to him, helping to print his illuminated works and maintaining his spirits throughout numerous misfortunes.

Blake's first collection of poems, Poetical Sketches, was printed around 1783.^[25] After his father's death, William and former fellow apprentice James Parker opened a print shop in 1784, and began working with radical publisher Joseph Johnson.^[26] Johnson's house was a meeting-place for some of the leading English intellectual dissidents of the time: theologian and scientist Joseph Priestley, philosopher Richard Price, artist John Henry Fuseli,^[27] early feminist Mary Wollstonecraft and Anglo-American revolutionary Thomas Paine. Along with William Wordsworth and William Godwin, Blake had great hopes for the French revolution and American revolutions and wore a Phrygian cap in solidarity with the French revolutionaries, but despaired with the rise of Robespierre and the Reign of Terror in France. In 1784 Blake also composed his unfinished manuscript An Island in the Moon.

Blake illustrated Original Stories from Real Life (1788; 1791) by Mary Wollstonecraft. They seem to have shared some views on sexual equality and the institution of marriage, but there is no evidence proving without doubt that they actually met. In 1793's Visions of the Daughters of Albion, Blake condemned the cruel absurdity of enforced chastity and marriage without love and defended the right of women to complete self-fulfillment.

Relief etching[link]

In 1788, at the age of 31, Blake began to experiment with relief etching, a method he would use to produce most of his books, paintings, pamphlets and poems. The process is also referred to as illuminated printing, and final products as illuminated books or prints. Illuminated printing involved writing the text of the poems on copper plates with pens and brushes, using an acid-resistant medium. Illustrations could appear alongside words in the manner of earlier illuminated manuscripts. He then etched the plates in acid to dissolve the untreated copper and leave the design standing in relief (hence the name).

This is a reversal of the normal method of etching, where the lines of the design are exposed to the acid, and the plate printed by the intaglio method. Relief etching (which Blake also referred to as "stereotype" in The Ghost of Abel) was intended as a means for producing his illuminated books more quickly than via intaglio. Stereotype, a process invented in 1725, consisted of making a metal cast from a wood engraving, but Blake’s innovation was, as described above, very different. The pages printed from these plates then had to be hand-coloured in water colours and stitched together to make up a volume. Blake used illuminated printing for most of his well-known works, including Songs of Innocence and Experience, The Book of Thel, The Marriage of Heaven and Hell, and Jerusalem.^[28]

Engravings[link]

Although Blake has become most famous for his relief etching, his commercial work largely consisted of intaglio engraving, the standard process of engraving in the 18th century in which the artist would incise an image into the copper plate. This was a complex and laborious process, with plates taking months or years to complete, but as Blake's contemporary, John Boydell, realised, such engraving offered a "missing link with commerce", enabling artists to connect with a mass audience and so becoming an immensely important activity by the end of the 18th century.^[29]

Blake also employed intaglio engraving in his own work, most notably for the illustrations of the Book of Job, completed just before his death. Most critical work has tended to concentrate on Blake's relief etching as a technique because it is the most innovative aspect of his art, but a 2009 study draws attention to Blake's surviving plates, including those for the Book of Job: these demonstrate that he made frequent use of a technique known as "repoussage", a means of obliterating mistakes by hammering them out by hitting the back of the plate. Such techniques, typical of engraving work of the time, are very different to the much faster and fluid way of drawing on a plate that Blake employed for his relief etching, and indicates why the engravings took so long to complete.^[30]

Later life and career[link]

Blake's marriage to Catherine remained a close and devoted one until his death. Blake taught Catherine to write, and she helped him to colour his printed poems.^[31] Gilchrist refers to "stormy times" in the early years of the marriage.^[32] Some biographers have suggested that Blake tried to bring a concubine into the marriage bed in accordance with the beliefs of the more radical branches of the Swedenborgian Society,^[33] but other scholars have dismissed these theories as conjecture.^[34] William and Catherine's first daughter and last child might be Thel described in The Book of Thel who was conceived as dead.^[35]

The Night of Enitharmon's Joy, 1795. Blake's vision of Hecate, Greek goddess of black magic and the underworld

Felpham[link]

In 1800, Blake moved to a cottage at Felpham in Sussex (now West Sussex) to take up a job illustrating the works of William Hayley, a minor poet. It was in this cottage that Blake began Milton: a Poem (the title page is dated 1804 but Blake continued to work on it until 1808). The preface to this work includes a poem beginning "And did those feet in ancient time," which became the words for the anthem, "Jerusalem". Over time, Blake came to resent his new patron, coming to believe that Hayley was uninterested in true artistry, and preoccupied with "the meer drudgery of business" (E724). Blake's disenchantment with Hayley has been speculated to have influenced Milton: a Poem, in which Blake wrote that "Corporeal Friends are Spiritual Enemies." (4:26, E98)

Blake's trouble with authority came to a head in August 1803, when he was involved in a physical altercation with a soldier called John Schofield.^[36] Blake was charged not only with assault, but also with uttering seditious and treasonable expressions against the King. Schofield claimed that Blake had exclaimed, "Damn the king. The soldiers are all slaves."^[37] Blake would be cleared in the Chichester assizes of the charges. According to a report in the Sussex county paper, "The invented character of [the evidence] was ... so obvious that an acquittal resulted."^[38] Schofield was later depicted wearing "mind forged manacles" in an illustration to Jerusalem.^[39]

Return to London[link]

Blake's The Great Red Dragon and the Woman Clothed with Sun (1805) is one of a series of illustrations of Revelation 12.

Blake returned to London in 1804 and began to write and illustrate Jerusalem (1804–1820), his most ambitious work. Having conceived the idea of portraying the characters in Chaucer's Canterbury Tales, Blake approached the dealer Robert Cromek, with a view to marketing an engraving. Knowing that Blake was too eccentric to produce a popular work, Cromek promptly commissioned Blake's friend Thomas Stothard to execute the concept. When Blake learned that he had been cheated, he broke off contact with Stothard. He also set up an independent exhibition in his brother's haberdashery shop at 27 Broad Street in the Soho district of London. The exhibition was designed to market his own version of the Canterbury illustration (titled The Canterbury Pilgrims), along with other works. As a result he wrote his Descriptive Catalogue (1809), which contains what Anthony Blunt has called a "brilliant analysis" of Chaucer. It is regularly anthologised as a classic of Chaucer criticism.^[40] It also contained detailed explanations of his other paintings.

The exhibition itself, however, was very poorly attended, selling none of the temperas or watercolours. Its only review, in The Examiner, was hostile.^[41]

Also around this time (circa 1808) Blake gave vigorous expression of views on art in an extensive series of polemical annotations to the Discourses of Sir Joshua Reynolds, denouncing the British Academy as a fraud and proclaiming, "To Generalize is to be an Idiot."^[42]

In 1818 he was introduced by George Cumberland's son to a young artist named John Linnell.^[43] Through Linnell he met Samuel Palmer, who belonged to a group of artists who called themselves the Shoreham Ancients. This group shared Blake's rejection of modern trends and his belief in a spiritual and artistic New Age. At the age of 65 Blake began work on illustrations for the Book of Job. These works were later admired by Ruskin, who compared Blake favourably to Rembrandt, and by Vaughan Williams, who based his ballet Job: A Masque for Dancing on a selection of the illustrations.

Later in his life Blake began to sell a great number of his works, particularly his Bible illustrations, to Thomas Butts, a patron who saw Blake more as a friend than a man whose work held artistic merit; this was typical of the opinions held of Blake throughout his life.

[edit] Dante's Divine Comedy

William Blake's image of the Minotaur to illustrate Inferno, Canto XII,12–28, The Minotaur XII

The commission for Dante's Divine Comedy came to Blake in 1826 through Linnell, with the ultimate aim of producing a series of engravings. Blake's death in 1827 would cut short the enterprise, and only a handful of the watercolours were completed, with only seven of the engravings arriving at proof form. Even so, they have evoked praise:

'[T]he Dante watercolours are among Blake's richest achievements, engaging fully with the problem of illustrating a poem of this complexity. The mastery of watercolour has reached an even higher level than before, and is used to extraordinary effect in differentiating the atmosphere of the three states of being in the poem'.^[44]

Blake's The Lovers' Whirlwind illustrates Hell in Canto V of Dante's Inferno

Blake's illustrations of the poem are not merely accompanying works, but rather seem to critically revise, or furnish commentary on, certain spiritual or moral aspects of the text.

Because the project was never completed, Blake's intent may itself be obscured. Some indicators, however, bolster the impression that Blake's illustrations in their totality would themselves take issue with the text they accompany: In the margin of Homer Bearing the Sword and His Companions, Blake notes, "Every thing in Dantes Comedia shews That for Tyrannical Purposes he has made This World the Foundation of All & the Goddess Nature & not the Holy Ghost." Blake seems to dissent from Dante's admiration of the poetic works of ancient Greece, and from the apparent glee with which Dante allots punishments in Hell (as evidenced by the grim humour of the cantos).

At the same time, Blake shared Dante's distrust of materialism and the corruptive nature of power, and clearly relished the opportunity to represent the atmosphere and imagery of Dante's work pictorially. Even as he seemed to near death, Blake's central preoccupation was his feverish work on the illustrations to Dante's Inferno; he is said to have spent one of the very last shillings he possessed on a pencil to continue sketching.^[45]

Death[link]

Monument near Blake's unmarked grave at Bunhill Fields in London

On the day of his death, Blake worked relentlessly on his Dante series. Eventually, it is reported, he ceased working and turned to his wife, who was in tears by his bedside. Beholding her, Blake is said to have cried, "Stay Kate! Keep just as you are – I will draw your portrait – for you have ever been an angel to me." Having completed this portrait (now lost), Blake laid down his tools and began to sing hymns and verses.^[46] At six that evening, after promising his wife that he would be with her always, Blake died. Gilchrist reports that a female lodger in the same house, present at his expiration, said, "I have been at the death, not of a man, but of a blessed angel."^[47]

George Richmond gives the following account of Blake's death in a letter to Samuel Palmer:

He died ... in a most glorious manner. He said He was going to that Country he had all His life wished to see & expressed Himself Happy, hoping for Salvation through Jesus Christ – Just before he died His Countenance became fair. His eyes Brighten'd and he burst out Singing of the things he saw in Heaven.^[48]

Catherine paid for Blake's funeral with money lent to her by Linnell. He was buried five days after his death – on the eve of his forty-fifth wedding anniversary – at the Dissenter's burial ground in Bunhill Fields, where his parents were also interred. Present at the ceremonies were Catherine, Edward Calvert, George Richmond, Frederick Tatham and John Linnell. Following Blake's death, Catherine moved into Tatham's house as a housekeeper. During this period, she believed she was regularly visited by Blake's spirit. She continued selling his illuminated works and paintings, but would entertain no business transaction without first "consulting Mr. Blake".^[49] On the day of her own death, in October 1831, she was as calm and cheerful as her husband, and called out to him "as if he were only in the next room, to say she was coming to him, and it would not be long now".^[50]

On her death, Blake's manuscripts were inherited by Frederick Tatham, who burned several he deemed heretical or politically radical. Tatham was an Irvingite, one of the many fundamentalist movements of the 19th century, and was severely opposed to any work that smacked of blasphemy.^[51] Also, John Linnell erased sexual imagery from a number of Blake's drawings.^[52]

Since 1965, the exact location of William Blake's grave had been lost and forgotten, while gravestones were taken away to create a new lawn. Nowadays, Blake’s grave is commemorated by a stone that reads "Near by lie the remains of the poet-painter William Blake 1757–1827 and his wife Catherine Sophia 1762–1831". This memorial stone is situated approximately 20 metres away from the actual spot of Blake’s grave, which is not marked. However, members of the group Friends of William Blake have rediscovered the location of Blake's grave and intend to place a permanent memorial at the site.^[53][54]

Blake is now recognised as a saint in the Ecclesia Gnostica Catholica. The Blake Prize for Religious Art was established in his honour in Australia in 1949. In 1957 a memorial was erected in Westminster Abbey, in memory of him and his wife.^[55]

Politics[link]

Blake was not active in any well-established political party. His poetry consistently embodies an attitude of rebellion against the abuse of class power as documented in David Erdman's large study Blake: Prophet Against Empire: A Poet's Interpretation of the History of His Own Times. Blake was both concerned about senseless wars of kingdoms, and the blighting effects of the industrial revolution. Much of his poetry recounts in symbolic allegory the effects of the French and American revolutions. Erdman claims that Blake was disillusioned with these revolutions, believing they had simply replaced monarchy with irresponsible mercantilism. Erdman also notes that Blake was deeply opposed to slavery, and believes that some poems of Blake read primarily as championing "free love" have had their anti-slavery implications short-changed.^[56] One of the more recent (and very short) studies of Blake, William Blake: Visionary Anarchist by Peter Marshall (1988), has classified Blake as one of the forerunners of modern anarchism, along with Blake's contemporary William Godwin.^[57] The British Marxist historian E.P. Thompson's last finished work was a study on William Blake, Witness Against the Beast: William Blake and the Moral Law (1993), and it shows how far Blake was inspired by dissident religious ideas rooted in the thinking of the most radical opponents of the monarchy during the English Civil War.

Development of Blake's views[link]

Because Blake's later poetry contains a private mythology with complex symbolism, his late work has been less published than his earlier more accessible work. The recent Vintage anthology of Blake edited by Patti Smith focuses heavily on the earlier work, as do many critical studies such as William Blake by D. G. Gillham.

The earlier work is primarily rebellious in character and can be seen as a protestation against dogmatic religion. This is especially notable in The Marriage of Heaven and Hell in which the figure represented by the "Devil" is virtually a hero rebelling against an imposter authoritarian deity. In the later works such as Milton and Jerusalem, Blake carves a distinctive vision of a humanity redeemed by self-sacrifice and forgiveness, while retaining his earlier negative attitude towards what he felt was the rigid and morbid authoritarianism of traditional religion. Not all readers of Blake agree upon how much continuity exists between Blake's earlier and later works.

Psychoanalyst June Singer has written that Blake's late work displayed a development of the ideas that were first introduced in his earlier works, namely, the humanitarian goal of achieving personal wholeness of body and spirit. The final section of the expanded edition of her Blake study The Unholy Bible suggests that the later works are in fact the "Bible of Hell" promised in The Marriage of Heaven and Hell. Regarding Blake's final poem "Jerusalem", she writes: "[T]he promise of the divine in man, made in The Marriage of Heaven and Hell, is at last fulfilled."^[58]

However, John Middleton Murry notes discontinuity between Marriage and the late works, in that while the early Blake focused on a "sheer negative opposition between Energy and Reason", the later Blake emphasised the notions of self-sacrifice and forgiveness as the road to interior wholeness. This renunciation of the sharper dualism of Marriage of Heaven and Hell is evidenced in particular by the humanisation of the character of Urizen in the later works. Middleton characterises the later Blake as having found "mutual understanding" and "mutual forgiveness".^[59]

Sexuality[link]

19th-century "free love" movement[link]

Since his death, William Blake has been claimed by various movements who apply his complex and often elusive use of symbolism and allegory to the issues that concern them.^[60] In particular, Blake is sometimes considered (along with Mary Wollstonecraft and her husband William Godwin) a forerunner of the subsequent 19th-century "free love" movement, a broad reform tradition starting in the 1820s that held that marriage is slavery, and advocated for removal of all state restrictions on sexual activity such as homosexuality, prostitution, and adultery, culminating in the birth control movement of the early 20th century. Blake scholarship was more focused on this theme in the earlier 20th century than today, although it is still mentioned today notably by the Blake scholar Magnus Ankarsjö who moderately challenges this interpretation. The 19th-century "free love" movement was not particularly focused on the idea of multiple partners, but did agree with Wollstonecraft that state-sanctioned marriage was "legal prostitution" and was monopolistic in character. It has somewhat more in common with early feminist movements^[61] (particularly with regard to the writings of Mary Wollstonecraft, whom Blake admired).

Blake was critical of the marriage laws of his day, and generally railed against traditional Christian notions of chastity as a virtue. At a time of tremendous strain in his marriage, in part due to Catherine's apparent inability to bear children, he directly advocated bringing a second wife into the house. His poetry suggests that external demands for marital fidelity reduce love to mere duty rather than authentic affection, and decries jealousy and egotism as a motive for marriage laws. Poems such as "Why should I be bound to thee, O my lovely Myrtle-tree?" and "Earth's Answer" seem to advocate multiple sexual partners. In his poem "London" he speaks of "the Marriage-Hearse" plagued by "the youthful Harlot's curse", the result alternately of false Prudence and/or Harlotry. Visions of the Daughters of Albion is widely (though not universally) read as a tribute to free love since the relationship between Bromion and Oothoon is held together only by laws and not by love. For Blake, law and love are opposed, and he castigates the "frozen marriage-bed". In Visions, Blake writes:

<poem> Till she who burns with youth, and knows no fixed lot, is bound In spells of law to one she loathes? and must she drag the chain Of life in weary lust? (5.21-3, E49) </poem>

In the 19th-century famed poet and free love advocate Algernon Charles Swinburne wrote a full-length book on Blake drawing attention to the above motifs in which Blake praises "sacred natural love" that is not bound by another's possessive jealousy, the latter characterised by Blake as a "creeping skeleton".^[62] Swinburne also notes how Blake's Marriage of Heaven and Hell condemns the hypocrisy of the "pale religious letchery" of advocates of traditional norms.^[63] Another 19th-century free love advocate, Edward Carpenter (1844–1929), was also influenced by Blake's mystical emphasis on energy free from external restrictions.^[64]

In the early 20th-century Pierre Berger described how Blake's views echo that of Mary Wollstonecraft celebrating joyful authentic love rather than love born of duty,^[65] the former being the true measure of purity.^[66] Irene Langridge notes that "in Blake's mysterious and unorthodox creed the doctrine of free love was something Blake wanted for the edification of 'the soul'."^[67] Michael Davis's 1977 book William Blake a New Kind of Man suggests that Blake thought jealousy separates man from the divine unity, condemning him to a frozen death.^[68]

As a theological writer, Blake has a sense of human “fallenness”. S. Foster Damon has noted that for Blake the major impediments to a free love society were corrupt human nature, not merely the intolerance of society and the jealousy of men, but the inauthentic hypocritical nature of human communication.^[69] Thomas Wright's 1928 book Life of William Blake (entirely devoted to Blake's doctrine of free love) notes that Blake thinks marriage should in practice afford the joy of love, but notes that in reality it often does not,^[70] as a couple's knowledge of being chained often diminishes their joy. Pierre Berger also analyses Blake's early mythological poems such as Ahania as declaring marriage laws to be a consequence of the fallenness of humanity, as these are born from pride and jealousy.^[71]

Some scholars have noted both that Blake's views on “free love” are both qualified and may have undergone shifts and modifications in his late years. Some poems from this period warn of dangers of predatory sexuality such as The Sick Rose. Magnus Ankarsjö notes that while the hero of Visions of the Daughters of Albion is a strong advocate of free love, by the end of the poem she has become more circumspect as her awareness of the dark side of sexuality has grown, crying "Can this be love which drinks another as a sponge drinks water?"^[72] Ankarsjö also notes that a major inspiration to Blake, Mary Wollstonecraft, similarly developed more circumspect views of sexual freedom late in life. In light of Blake's aforementioned sense of human 'fallenness' Ankarsjö thinks Blake does not fully approve of sensual indulgence merely in defiance of law as exemplified by the female character of Leutha,^[73] since in the fallen world of experience all love is enchained.^[74] Ankarsjö records Blake as having supported a commune with some sharing of partners, though David Worrall has recently read The Book of Thel as a rejection of the proposal to take concubines espoused by some members of the Swedenborgian church.^[75]

Blake's later writings show a renewed interest in Christianity, and although he radically reinterprets Christian morality in a way that embraces sensual pleasure, there is little of the emphasis on sexual libertarianism found in several of his early poems, and there is advocacy of "self-denial", though such abnegation must be inspired by love rather than through authoritarian compulsion.^[76] Berger (moreso than Swinburne) is especially sensitive to a shift in sensibility between the early Blake and the later Blake. Berger believes the young Blake placed too much emphasis on following impulses,^[77] and that the older Blake had a better formed ideal of a true love that sacrifices self. Some celebration of mystical sensuality remains in the late poems (most notably in Blake's denial of the virginity of Jesus's mother). However, the late poems also place a greater emphasis on forgiveness, redemption, and emotional authenticity as a foundation for relationships.

Religious views[link]

Blake's Ancient of Days. The "Ancient of Days" is described in Chapter 7 of the Book of Daniel.

Although Blake's attacks on conventional religion were shocking in his own day, his rejection of religiosity was not a rejection of religion per se. His view of orthodoxy is evident in The Marriage of Heaven and Hell, a series of texts written in imitation of Biblical prophecy. Therein, Blake lists several Proverbs of Hell, among which are the following:

• Prisons are built with stones of Law, Brothels with bricks of Religion.
• As the caterpillar [sic] chooses the fairest leaves to lay her eggs on, so the priest lays his curse on the fairest joys. (8.21, 9.55, E36)

In The Everlasting Gospel, Blake does not present Jesus as a philosopher or traditional messianic figure but as a supremely creative being, above dogma, logic and even morality:

<poem> If he had been Antichrist Creeping Jesus, He'd have done anything to please us: Gone sneaking into Synagogues And not us'd the Elders & Priests like Dogs, But humble as a Lamb or Ass, Obey'd himself to Caiaphas. God wants not Man to Humble himself (55–61, E519-20) </poem>

Jesus, for Blake, symbolises the vital relationship and unity between divinity and humanity: "All had originally one language, and one religion: this was the religion of Jesus, the everlasting Gospel. Antiquity preaches the Gospel of Jesus." (Descriptive Catalogue, Plate 39, E543)

Blake designed his own mythology, which appears largely in his prophetic books. Within these Blake describes a number of characters, including 'Urizen', 'Enitharmon', 'Bromion' and 'Luvah'. This mythology seems to have a basis in the Bible and in Greek mythology,^[78] and it accompanies his ideas about the everlasting Gospel.

One of Blake's strongest objections to orthodox Christianity is that he felt it encouraged the suppression of natural desires and discouraged earthly joy. In A Vision of the Last Judgement, Blake says that:

Men are admitted into Heaven not because they have <curbed &> governd their Passions or have No Passions but because they have Cultivated their Understandings. The Treasures of Heaven are not Negations of Passion but Realities of Intellect from which All the Passions Emanate <Uncurbed> in their Eternal Glory. (E564)

One may also note his words concerning religion in The Marriage of Heaven and Hell:

<poem> All Bibles or sacred codes have been the causes of the following Errors.

1. That Man has two real existing principles Viz: a Body & a Soul.

2. That Energy, calld Evil, is alone from the Body, & that Reason, calld Good, is alone from the Soul.

3. That God will torment Man in Eternity for following his Energies.

But the following Contraries to these are True

1. Man has no Body distinct from his Soul for that calld Body is a portion of Soul discernd by the five Senses, the chief inlets of Soul in this age.

2. Energy is the only life and is from the Body and Reason is the bound or outward circumference of Energy.

3. Energy is Eternal Delight. (Plate 4, E34)

</poem>

The Body of Abel Found by Adam and Eve, c. 1825. Watercolour on wood.

Blake does not subscribe to the notion of a body distinct from the soul that must submit to the rule of the soul, but sees the body as an extension of the soul, derived from the 'discernment' of the senses. Thus, the emphasis orthodoxy places upon the denial of bodily urges is a dualistic error born of misapprehension of the relationship between body and soul. Elsewhere, he describes Satan as the 'state of error', and as beyond salvation.^[79]

Blake opposed the sophistry of theological thought that excuses pain, admits evil and apologises for injustice. He abhorred self-denial,^[80] which he associated with religious repression and particularly sexual repression:^[81] "Prudence is a rich ugly old maid courted by Incapacity. / He who desires but acts not, breeds pestilence." (7.4–5, E35) He saw the concept of 'sin' as a trap to bind men’s desires (the briars of Garden of Love), and believed that restraint in obedience to a moral code imposed from the outside was against the spirit of life:

<poem> Abstinence sows sand all over The ruddy limbs & flaming hair But Desire Gratified Plants fruits & beauty there. (E474) </poem>

He did not hold with the doctrine of God as Lord, an entity separate from and superior to mankind;^[82] this is shown clearly in his words about Jesus Christ: "He is the only God ... and so am I, and so are you." A telling phrase in The Marriage of Heaven and Hell is "men forgot that All deities reside in the human breast". This is very much in line with his belief in liberty and social equality in society and between the sexes.

Enlightenment philosophy[link]

Blake had a complex relationship with Enlightenment philosophy. Due to his visionary religious beliefs, Blake opposed the Newtonian view of the universe. This mindset is reflected in an excerpt from Blake's Jerusalem:

Blake's Newton (1795) demonstrates his opposition to the "single-vision" of scientific materialism: Newton fixes his eye on a compass (recalling Proverbs 8:27, an important passage for Milton)^[83] to write upon a scroll that seems to project from his own head.^[84]

<poem> I turn my eyes to the Schools & Universities of Europe And there behold the Loom of Locke whose Woof rages dire Washd by the Water-wheels of Newton. black the cloth In heavy wreathes folds over every Nation; cruel Works Of many Wheels I view, wheel without wheel, with cogs tyrannic Moving by compulsion each other: not as those in Eden: which Wheel within Wheel in freedom revolve in harmony & peace. (15.14–20, E159) </poem>

Blake also believed that the paintings of Sir Joshua Reynolds, which depict the naturalistic fall of light upon objects, were products entirely of the "vegetative eye", and he saw Locke and Newton as "the true progenitors of Sir Joshua Reynolds' aesthetic".^[85] The popular taste in the England of that time for such paintings was satisfied with mezzotints, prints produced by a process that created an image from thousands of tiny dots upon the page. Blake saw an analogy between this and Newton's particle theory of light.^[86] Accordingly, Blake never used the technique, opting rather to develop a method of engraving purely in fluid line, insisting that:

a Line or Lineament is not formed by Chance a Line is a Line in its Minutest Subdivision[s] Strait or Crooked It is Itself & Not Intermeasurable with or by any Thing Else Such is Job. (E784)

Despite his opposition to Enlightenment principles, Blake thus arrived at a linear aesthetic that was in many ways more similar to the Neoclassical engravings of John Flaxman than to the works of the Romantics, with whom he is often classified.

Therefore Blake has also been viewed as an enlightenment poet and artist, in the sense that he was in accord with that movement's rejection of received ideas, systems, authorities and traditions. On the other hand, he was critical of what he perceived as the elevation of reason to the status of an oppressive authority. In his criticism of reason, law and uniformity Blake has been taken to be opposed to the enlightenment, but it has also been argued that, in a dialectical sense, he used the enlightenment spirit of rejection of external authority to criticise narrow conceptions of the enlightenment.^[87]

Assessment[link]

Creative mindset[link]

Northrop Frye, commenting on Blake's consistency in strongly held views, notes that Blake "himself says that his notes on [Joshua] Reynolds, written at fifty, are 'exactly Similar' to those on Locke and Bacon, written when he was 'very Young'. Even phrases and lines of verse will reappear as much as forty years later. Consistency in maintaining what he believed to be true was itself one of his leading principles ... Consistency, then, foolish or otherwise, is one of Blake's chief preoccupations, just as 'self-contradiction' is always one of his most contemptuous comments".^[88]