William Blake, the 18th-century poet, painter, and printmaker, constructed a unique mythological universe that blends visionary art, poetry, and philosophy. His work offers profound insights into the human condition, interweaving elements of Christian theology, mysticism, and a deep critique of Enlightenment rationalism. Blake’s mythological universe is not merely a literary creation but a complex system of symbols, characters, and narratives that reflect his distinctive worldview. This editorial delves into the intricate details of Blake’s mythology, supported by numerous examples and an exploration of the symbolic characters, narrative themes, and philosophical underpinnings that make his work a cornerstone of Romantic literature.
Foundations of Blake’s Mythology
Influences and Inspirations
Blake’s mythology is deeply embedded in Christian tradition, yet it challenges orthodox interpretations. His references to biblical stories are frequent, such as the retelling of the Fall of Man in “The Book of Urizen,” where he reinterprets the Genesis story through the lens of his symbolic character, Urizen. Unlike conventional Christianity, which often emphasizes the separation between God and humanity, Blake rejected the notion of a distant, punitive God. Instead, he envisioned a universe where divine and human forces are intimately connected, reflecting a more mystical interpretation of Christianity.
The influence of Gnosticism and mysticism is evident in Blake’s belief in a hidden knowledge or “gnosis” that could be accessed only through spiritual awakening. This idea is vividly illustrated in his poem “The Marriage of Heaven and Hell,” where he writes, “If the doors of perception were cleansed, everything would appear to man as it is, infinite.” This line encapsulates Blake’s conviction that reality, as perceived by the human senses, is limited and that true knowledge comes from an inner, spiritual enlightenment.
Blake’s opposition to the Enlightenment ideals of reason and empiricism is another cornerstone of his mythology. The Enlightenment, with its emphasis on reason, science, and the empirical method, was viewed by Blake as a force that stifled the imagination and led to spiritual blindness. His character Urizen, who embodies reason and law, is depicted as a tyrannical figure whose attempt to impose a rational order on the universe leads to its fragmentation and decay. This is exemplified in the poem “The Book of Urizen,” where Blake describes Urizen’s creation of a world of “networks of dismal shade” and “chains of reasoning,” which bind and constrain the human spirit.
The Role of Imagination
For Blake, imagination was not merely a mental faculty but a divine power capable of transforming reality. He saw imagination as the “body of God,” a phrase he used to describe the creative force that shapes both the material and spiritual worlds. Blake conceptualized four states of human existence—Ulro, Generation, Beulah, and Eternity—each representing different levels of consciousness and imaginative potential.
- Ulro is the lowest state, characterized by a focus on material reality and rationality. It is a world of darkness, where the soul is confined by physical limitations. Blake describes Ulro as a “void” where souls are trapped in a cycle of endless despair, unable to perceive the divine.
- Generation represents a higher state of existence, acknowledging the cyclical nature of life and the processes of birth and death but lacking the emotional and spiritual depth of higher states. In “The Four Zoas,” Blake explores this state through the character of Tharmas, who embodies the generative forces of nature but is often in conflict with Urizen’s attempts to impose order.
- Beulah is a realm of emotional richness and spiritual beauty, where the soul begins to perceive the divine and the interconnectedness of all life. Blake describes Beulah as a “land of flowers,” a peaceful state of rest and reflection, though not yet the ultimate state of being. Beulah is the realm where lovers rest and where conflicts are temporarily resolved.
- Eternity, or Eden, is the highest state, where the soul achieves full communion with the divine, transcending time and space. Blake’s vision of Eternity is not an afterlife in the conventional sense but a state of eternal creativity and spiritual joy. In “Jerusalem,” Blake describes Eternity as a realm where “all things are possible,” a place of infinite creativity and divine love.
These states are not just abstract concepts but are embodied in the characters and narratives of Blake’s mythological works, serving as both literal and allegorical spaces through which his characters—and his readers—must journey.
Key Mythological Characters and Concepts
The Four Zoas
Central to Blake’s mythology are the Four Zoas, archetypal figures representing different aspects of the human psyche:
- Urizen: The embodiment of reason and law, Urizen is often depicted as a tyrannical figure enforcing rigid order. In “The Book of Urizen,” Blake portrays him as a creator whose attempt to impose order results in cosmic fragmentation and the fall of man. Urizen’s creation of the physical world is depicted as a dark, mechanical process, where the joy and spontaneity of life are crushed under the weight of his laws and decrees.
- Luvah (Orc): Opposed to Urizen, Luvah symbolizes love, passion, and revolution. He is depicted as a fiery force, seeking to overthrow Urizen’s oppressive rule, representing the eternal struggle between passion and reason. In Blake’s “America a Prophecy,” Orc is depicted as a symbol of revolution and rebellion, embodying the spirit of the American Revolution and the fight against tyranny.
- Tharmas: Representing the physical body and primal instincts, Tharmas is associated with the chaotic forces of nature and human senses. He symbolizes the tension between body and mind, often clashing with Urizen’s attempts to impose rational order. In “The Four Zoas,” Tharmas is depicted as a primordial force, embodying the raw, untamed aspects of human nature.
- Urthona (Los): The creative spirit of imagination, Los counters Urizen’s reason. He represents artistic and spiritual creativity, forging visions and new worlds through imagination. Los is also a blacksmith, symbolizing the transformative power of creativity. In “Jerusalem,” Los is depicted as the builder of Golgonooza, a spiritual city of art and imagination, representing the potential for human creativity to transcend the material world.
Albion and Jerusalem
Blake’s mythological universe includes figures like Albion and Jerusalem, representing humanity’s potential for spiritual redemption:
- Albion: The primal man, Albion symbolizes humanity in its original, unfallen state. Due to the division and fragmentation caused by Urizen, Albion falls into disunity and conflict, mirroring the fractured condition of the human soul. In Blake’s “Jerusalem,” Albion is depicted as a giant whose body represents the entire human race, and whose fall into sleep symbolizes the loss of spiritual awareness.
- Jerusalem: As the embodiment of spiritual redemption, Jerusalem represents the ultimate goal of Blake’s mythological journey—the reunification of Albion and the restoration of divine harmony. In Blake’s epic poem “Jerusalem,” she is depicted as the spiritual city that emerges when humanity returns to a state of divine vision and unity. Jerusalem is also a personification of the divine feminine, representing the nurturing, redemptive aspect of the divine.
The Prophetic Books: Exploring Blake’s Mythological Narratives
Overview of Major Works
Blake’s mythology is most fully developed in his prophetic books, blending poetry and visual art to create complex narratives:
- The Book of Urizen: This foundational text narrates the creation of the world by Urizen and the subsequent fall of man. Urizen’s attempt to impose rational order leads to chaos and division, setting the stage for the conflicts in Blake’s other works. The book is filled with rich symbolism, such as the “Net of Religion” and “The Book of Brass,” which represent the restrictive nature of institutionalized religion and the material world.
- The Four Zoas: Blake’s most ambitious work, “The Four Zoas” explores the cyclical nature of creation and destruction. The Zoas’ struggle reflects the internal conflicts of the human soul and the broader cosmic battle between order and chaos. The poem’s complex structure, with its nine “Nights” or sections, mirrors the intricate interplay between the different aspects of the human psyche.
- Milton: In this poem, Blake reimagines the poet John Milton as a character who descends into Blake’s mythological universe to seek redemption. The work explores themes of artistic inspiration, spiritual awakening, and the interplay between individual creativity and divine guidance. Milton’s journey involves a confrontation with the oppressive forces of reason and law, represented by Urizen, and culminates in his spiritual rebirth.
- Jerusalem: Blake’s magnum opus, “Jerusalem,” is a sweeping vision of humanity’s fall and redemption. The poem depicts the eventual reunification of Albion and the restoration of divine order, offering a hopeful vision of the future. “Jerusalem” is not only a narrative but also a call to action, urging readers to participate in the spiritual work of regeneration and renewal.
Themes of Conflict and Redemption
In “The Marriage of Heaven and Hell,” Blake states, “Without Contraries is no progression,” underscoring the notion that spiritual and personal growth are impossible without conflict and opposition. For Blake, the clash between these opposing forces is not just inevitable but necessary for the evolution of the human spirit. The contraries are not merely antagonistic but also complementary; through their interaction, higher truths and states of consciousness are revealed. This idea is illustrated in Blake’s portrayal of the Zoas, where the struggle between Urizen and Los results in the creation of new realities and the potential for redemption.
In “Jerusalem,” the theme of redemption is explored on both a personal and cosmic level. Albion’s fall into division and his eventual reunification symbolize humanity’s collective journey from fragmentation and discord towards unity and spiritual wholeness. Jerusalem, as both a city and a personification of the divine, represents the ultimate goal of this journey—a state of harmony where the divine and the human are reconciled. The narrative of “Jerusalem” is not linear; it is cyclical, reflecting Blake’s belief in the eternal process of creation, destruction, and renewal.
The cyclical nature of creation and destruction is another recurring theme in Blake’s mythology. This is particularly evident in “The Four Zoas,” where the cycles of time are mirrored in the narrative structure of the poem. The Nine Nights of the Zoas represent different stages in the cosmic cycle, with each night corresponding to a phase of creation, destruction, or renewal. Blake’s use of cyclical time contrasts sharply with the linear time associated with Enlightenment thinking, suggesting a more fluid and dynamic understanding of reality. In Blake’s universe, the end is never final; it is always the precursor to a new beginning.
Blake’s exploration of the duality of human existence is a central aspect of his mythology. His works often depict the tension between opposing forces, such as innocence and experience, body and soul, heaven and hell. However, Blake does not see these dualities as strictly oppositional; instead, he views them as complementary aspects of a greater whole. In “The Marriage of Heaven and Hell,” for instance, he argues that the contraries are necessary for the progression of the soul. He presents heaven and hell not as irreconcilable opposites but as two sides of the same coin, each necessary for the other’s existence.
Blake’s critique of organized religion is evident throughout his mythological works. He saw the institutional church as a force that stifled individual spiritual experience and promoted a narrow, dogmatic understanding of the divine. In “Jerusalem,” Blake portrays the church as an oppressive institution that perpetuates ignorance and fear, preventing people from experiencing the true nature of God. Instead, Blake advocated for a more personal, imaginative approach to spirituality, one that embraced the divine within each individual and rejected the rigid structures of organized religion.
Blake’s depiction of Urizen as a tyrannical, law-giving deity reflects his critique of religious orthodoxy. Urizen represents the rational, rule-bound aspect of religion that seeks to impose order through fear and control. In contrast, Los, the embodiment of imagination and creativity, represents the liberating aspect of spirituality that encourages personal growth and divine connection. The conflict between Urizen and Los is not just a cosmic battle but also a reflection of Blake’s belief that true spirituality must be imaginative and free, unbound by the constraints of reason and institutional dogma.
William Blake’s mythology has had a lasting impact on literature, art, and spiritual thought. His visionary works challenge readers to question the nature of reality, the role of imagination, and the relationship between the divine and the human. Blake’s complex characters, intricate narratives, and profound philosophical insights continue to inspire artists, writers, and thinkers. His mythology serves as a reminder that the struggle between reason and imagination, order and chaos, is a fundamental part of the human experience and that redemption is always possible through the power of creative vision.
Blake’s influence extends beyond his immediate context. His ideas about the importance of imagination and the dangers of rationalism have resonated with later thinkers and artists, from the Romantic poets of the 19th century to contemporary writers and filmmakers. Blake’s visionary art has been cited as an influence by figures as diverse as W.B. Yeats, Allen Ginsberg, and Philip Pullman, among many others. His work has also inspired visual artists, musicians, and even political movements, demonstrating the enduring relevance of his ideas.
