Chapter IX (2)

Space may be made here (before we pass on to larger things if not greater) for another stray note or two on separate poems. _The Crystal Cabinet_, one of the completest short poems by Blake which are not to be called songs, is an example of the somewhat jarring and confused mixture of apparent "allegory" with actual "vision" which is the great source of trouble and error to rapid readers of his verse or students of his designs. The "cabinet" is either passionate or poetic vision--a spiritual gift, which may soon and easily become a spiritual bondage; wherein a man is locked up, with keys of gold indeed, yet is he a prisoner all the same: his prison built by his love or his art, with a view open beyond of exquisite limited loveliness, soft quiet and light of dew or moon, and a whole fresh world to rest in or look into, but intangible and simply reflective; all present pleasure or power trebled in it, until you try at too much and attempt to turn spiritual to physical reality--"to seize the inmost form" with "hands of flame" laid upon things of the spirit which will endure no such ardent handling--to translate eternal existence into temporal, essential into accidental, substantial into attributive; when at once the whole framework, which was meant otherwise to last out your present life, breaks up and leaves you stranded or cast out, feeble and sightless "like a weeping babe;" so that whereas at first you were full of light natural pleasure, "dancing merrily" in "the wild" of animal or childish life, you are now a child again, but unhappy instead of happy--less than a child, thrown back on the crying first stage of babyhood--having had the larger vision, and lost your hold of it by too great pressure of impatience or desire--unfit for the old pleasure and deprived of the new; and the maiden-mother of your spiritual life, your art or your love, is become wan and tearful as you, "pale reclined" in the barren blowing air which cannot again be filled with the fire and the luminous life of vision. In _Mary_ we come again upon the main points of inner contact between Blake's mind and Shelley's. This frank acceptance of pleasure, this avowal without blushing or doubting "that sweet love and beauty are worthy our care," was as beautiful a thing to Shelley as to Blake: he has preached the excellence of it in _Rosalind and Helen_ and often elsewhere: touching also, as Blake does here, on the persecution of it by all "who _amant misere_":--

"Some said she was proud, some called her a whore,
And some when she passed by shut to the door;"

for in their sight the tender and outspoken purity of instinct and innocence becomes confounded with base desire or vanity. This rather than genius or mere beauty seems to be the thing whose persecution by the world is here symbolized.

Many others of these brief poems are not less excellent; the slightest among them have the grace of form and heat of life which are indivisible in all higher works of poetry. One, _The Mental Traveller_, is full of sweet and vigorous verses turned loose upon a somewhat arid and thorny pasture. By a miracle of patient ingenuity this poem has been compelled to utter some connected message; but it may perhaps be doubted whether the message be not too articulate and coherent for Blake. Thus limited and clarified, the broad chafing current of mysticism seems almost too pure and too strait to issue from such a source: a well-head of living speech that bursts up with sudden froth and steam through more outlets than one at once. To have contrived such an elaborate allegory, so welded link by sequent link together, seems an exercise of logical patience to which Blake would hardly have submitted his passionate genius, his overstrained and wayward will. Separate stanzas may be retraced wellnigh through every word in other books. The latter part seems again to record, as in two preceding poems, the perversion of love; which having annihilated all else, falls at last to feed upon itself, to seek out strange things and barren ways, to invent new loves and invert the old, to fill the emptied heart and flush the subsiding veins with perverse passion. Alone in the desert it has made, beguiled to second youth by the incessant diet of joy, fear comes upon love; fear, and seeming hate, and weariness and cunning; fruits of the second graft of love, not native to the simple stock: till reduced at last to the likeness of the two extremes of life, age and infancy, love can be no further abused or consumed. These stages of love, once seen or heard of, allure lovers to eat of the strange fruits and herd with the strange flocks of transforming or transformed desire; the visible world, destroyed at the first advent of love and absorbed into the soul by a single passion, is again felt nearer; the trees bring forth their pleasure, and the planets lavish their light. For the second love, in its wayward and strange delights, is a thing half material; not alien at least from material forms, as was the first simple and spiritual ardour of equal love. Passionate and perverse emotion touches all things with some fervent colour of its own, mixes into all water and all wine some savour of the dubious honey gathered from its foreign flowers. Pure first love will not coexist with outward things, burns up with white fire all tangible form, and so, an unfed lamp, must at last burn itself down to the stage of life and sensation which breeds those latter loves. The babe that is "born a boy," often painfully begot and joyfully brought forth, I take to signify human genius or intellect, which none can touch and not be consumed except the "woman old," faith or fear: all weaker things, pain and pleasure, hatred and love, fly with shrieking averted faces from before it. The grey and cruel nurse, custom or religion, crucifies and torments the child, feeding herself upon his agony to false fresh youth; an allegory not even literally inapt. Grown older, and seeing her made fair with his blood and strong by his suffering, he weds her, and constrains her to do him service, and turns her to use; custom, the daily life of men, once married to the fresh intellect, bears fruit to him of profit and pleasure, and becomes through him nobler than she was; but through such union he grows old the sooner, soon can but wander round and look over his finished work and gathered treasure, the tragic passions and splendid achievements of his spirit, kept fresh in verse or colour; which he deals to all men alike, giving to the poorest of this divine meat and drink, the body and the blood of genius, caught in golden vessels of art and rhyme, that sight and hearing may be fed. This, the supreme and most excellent delight possible to man, is the fruit of his pain; of his suffering at the hands of life, of his union with her as with a bride. The "female[45] babe" sprung from the fire that burns always on his hearth, is the issue or result of genius, which, being too strong for the father, flows into new channels and follows after fresh ways; the thing which he has brought forth knows him no more, but must choose its own mate or living form of expression, and expel the former nature--casting off (as theologians say) the old man. The outcast intellect can then be vivified only by a new love, or by a new aim of which love is the type; a bride unlike the first, who was old at root and in substance, young only in seeming and fair only through cruel theft of his own life and strength; unlike also the art which has now in its ultimate expression turned against him; love which can change the face of former things and scatter in sunder the gatherings of former friends; love which masters the senses and transfigures the creatures of the earthly life, leaving no light or sustenance but what comes of itself. Then follow the stages of love, and the phases of action and passion bred from either stage; of these we have already taken account. If this view of the poem be wholly or partially correct, then we may roughly sum up the problem by saying that its real obscurity arises in the main from a verbal confusion between the passion of art and the passion of love. These are always spoken of by Blake in terms which prove that in his nature the two feelings had actually grown into each other; had become interfused past all chance of mutual extrication. Art was to him as a lust of the body; appetite as an emotion of the soul. This saying, true as to some extent it must be of all great men, was never so exclusively and finally true of any other man as of this one. It is no bad sample of Blake's hurried manner of speech, that having sustained half-way through his poem an allegory of intellect in its relations to art and to common life, he should suddenly stumble over a type of his own setting up, and be led off into a new allegory of love which might better have made a separate poem. As it is, the two symbols are welded together not without strength and cunning of hand.

Some further and final notice may here be taken of the manifold designs scattered about the MS. pages which we have found so prodigal of verse. Among the most curious of these we rank a series of drawings not quite so roughly pencilled as the rest, each inscribed with a brief text or metrical motto. Many of these have been wrought up into the "Gates of Paradise"; many more remain to speak and shift for themselves as they may.[46] Published as it stands here, the series would exceed in length the whole of that little book: and there is evidently some thread of intended connexion between all, worn thin and all but broken. They are numbered in a different order from that in which they stand, which is indeed plainly a matter of chance. Several have great grace and beauty; one in especial, where Daphne passes into the laurel; her feet are roots already and grasp the ground with strong writhing fibres; her lifted arms and wrestling body struggle into branch and stem, with strange labour of the supple limbs, with agony of convulsed and loosening hair. One of the larger designs seems to be a rough full-length study for Adam and Eve, with these lines opposite by way of suggested epigraph:

"What is it men in women do require?
The lineaments of gratified desire.
What is it women do in men require?
The lineaments of gratified desire."

These are barely to be recognised in the crude sketch: the faces are merely serious and rather grim: though designed to reproduce the sweet silence of beauty, filling features made fair with soft natural pleasure and a clear calm of soul and body. There is however a certain grace and nobility of form in the straight limbs and flowing hair, not unworthy the typical man and woman. Another design which deserves remark is a fine sketch after the manner of the illustrations to Blake's prophecies, in which a figure caught in the fierce slanting current of a whirlwind is drifted sideways like a drowning swimmer under sea, below the orbit of three mingling suns or planets seen above thick drifts of tempestuous air. Other and better notices than ours, of various studies hidden away in the chaos of this MS., the reader will find on reference to that admirable Catalogue which will remain always the great witness for Blake's genius before the eyes of all who read his life.

We have done now with the lyrical side of this poet's work,[47] and pass on to things of less direct attraction. Those who have found any in the record of his life and character, the study of his qualities and abilities, may safely follow him further. The perfect sweetness and sufficiency of his best lyrics and his best designs, we may not find; of these we take now farewell, with thanks and final praise such as we have to give; but we shall not fail to find the traces of a great art and an exalted spirit, to feel about us the clear air of a great man's presence.

III.--THE PROPHETIC BOOKS.

Before entering upon any system of remark or comment on the Prophetic Books, we may set down in as few and distinct words as possible the reasons which make this a thing seriously worth doing; nay, even requisite to be done, if we would know rather the actual facts of the man's nature than the circumstances and accidents of his life. Now, first of all, we are to recollect that Blake himself regarded these works as his greatest, and as containing the sum of his achieved ambitions and fulfilled desires: as in effect inspired matter, of absolute imaginative truth and eternal import. We shall not again pause to rebut the familiar cry of response, to the effect that he was mad and not accountable for the uttermost madness of error. It must be enough to reply here that he was by no means mad, in any sense that would authorise us in rejecting his own judgment of his own aims and powers on a plea which would be held insufficient in another man's case. Let all readers and all critics get rid of that notion for good--clear their minds of it utterly and with all haste; let them know and remember, having once been told it, that in these strangest of all written books there is purpose as well as power, meaning as well as mystery. Doubtless, nothing quite like them was ever pitched out headlong into the world as they were. The confusion, the clamour, the jar of words that half suffice and thoughts that half exist--all these and other more absolutely offensive qualities--audacity, monotony, bombast, obscure play of licence and tortuous growth of fancy--cannot quench or even wholly conceal the living purport and the imperishable beauty which are here latent.

And secondly we are to recollect this; that these books are not each a set of designs with a text made by order to match, but are each a poem composed for its own sake and with its own aim, having illustrations arranged by way of frame or appended by way of ornament. On all grounds, therefore, and for all serious purpose, such notices as some of those given in this biography are actually worse than worthless. Better have done nothing than have done this and no more. All the criticism included as to the illustrative parts merely, is final and faultless, nothing missed and nothing wrong; this could not have been otherwise, the work having fallen under hands and eyes of practical taste and trained to actual knowledge, and the assertions being therefore issued by authority. So much otherwise has it fared with the books themselves, that (we are compelled in this case to say it) the clothes are all right and the body is all wrong. Passing from some phrase of high and accurate eulogy to the raw ragged extracts here torn away and held up with the unhealed scars of mutilation fresh and red upon them, what is any human student to think of the poet or his praisers? what, of the assertion of his vindicated sanity with such appalling counterproof thrust under one's eyes? In a word, it must be said of these notices of Blake's prophetic books[48] (except perhaps that insufficient but painstaking and well-meant chapter on the _Marriage of Heaven and Hell_) that what has been done should not have been done, and what should have been done has not been done.

Not that the thing was easy to do. If any one would realize to himself for ever a material notion of chaos, let him take a blind header into the midst of the whirling foam and rolling weed of this sea of words. Indeed the sound and savour of these prophecies constantly recall some such idea or some such memory. This poetry has the huge various monotonies, the fervent and fluent colours, the vast limits, the fresh sonorous strength, the certain confusion and tumultuous law, the sense of windy and weltering space, the intense refraction of shadow or light, the crowded life and inanimate intricacy, the patience and the passion of the sea. By no manner of argument or analysis will one be made able to look back or forward with pure confidence and comprehension. Only there are laws, strange as it must sound, by which the work is done and against which it never sins. The biographer once attempts to settle the matter by asserting that Blake was given to contradict himself, by mere impulse if not by brute instinct, to such an extent that consistency is in no sense to be sought for or believed in throughout these works of his: and quotes, by way of ratifying this quite false notion, a noble sentence from the _Proverbs of Hell_, aimed by Blake with all his force against that obstinate adherence to one external opinion which closes and hardens the spirit against all further message from the new-grown feelings or inspiration from the altering circumstances of a man. Never was there an error more grave or more complete than this. The expression shifts perpetually, the types blunder into new forms, the meaning tumbles into new types; the purpose remains, and the faith keeps its hold.

There are certain errors and eccentricities of manner and matter alike common to nearly all these books, and distinctly referable to the character and training of the man. Not educated in any regular or rational way, and by nature of an eagerly susceptible and intensely adhesive mind, in which the lyrical faculty had gained and kept a preponderance over all others visible in every scrap of his work, he had saturated his thoughts and kindled his senses with a passionate study of the forms of the Bible as translated into English, till his fancy caught a feverish contagion and his ear derived a delirious excitement from the mere sound and shape of the written words and verses. Hence the quaint and fervent imitation of style, the reproduction of peculiarities which to most men are meaningless when divested of their old sense or invested with a new. Hence the bewildering catalogues, genealogies, and divisions which (especially in such later books as the _Jerusalem_) seem at first invented only to strike any miserable reader with furious or lachrymose lunacy. Hence, though heaven knows by no fault of the originals, the insane cosmogony, blatant mythology, and sonorous aberration of thoughts and theories. Hence also much of the special force and supreme occasional loveliness or grandeur in expression. Conceive a man incomparably gifted as to the spiritual side of art, prone beyond all measure to the lyrical form of work, incredibly contemptuous of all things and people dissimilar to himself, of an intensely sensitive imagination and intolerant habit of faith, with a passionate power of peculiar belief, taking with all his might of mental nerve and strain of excitable spirit to a perusal and reperusal of such books as Job and Ezekiel. Observe too that his tone of mind was as far from being critical as from being orthodox. Thus his ecstacy of study was neither on the one side tempered and watered down by faith in established forms and external creeds, nor on the other side modified and directed by analytic judgment and the lust of facts. To Blake either form of mind was alike hateful. Like the Moses of Rabbinical tradition, he was "drunken with the kisses of the lips of God." Rational deism and clerical religion were to him two equally abhorrent incarnations of the same evil spirit, appearing now as negation and now as restriction. He wanted supremacy of freedom with intensity of faith. Hence he was properly neither Christian nor infidel: he was emphatically a heretic. Such men, according to the temper of the times, are burnt as demoniacs or pitied as lunatics. He believed in redemption by Christ, and in the incarnation of Satan as Jehovah. He believed that by self-sacrifice the soul should attain freedom and victorious deliverance from bodily bondage and sexual servitude; and also that the extremest fullness of indulgence in such desire and such delight as the senses can aim at or attain was absolutely good, eternally just, and universally requisite. These opinions, and stranger than these, he put forth in the cloudiest style, the wilfullest humour, and the stormiest excitement. No wonder the world let his books drift without caring to inquire what gold or jewels might be washed up as waifs from the dregs of churned foam and subsiding surf. He was the very man for fire and faggot; a mediaeval inquisitor would have had no more doubt about him than a materialist or "theophilanthropist" of his own day or of ours.

A wish is expressed in the _Life_ that we could accompany the old man who appears entering an open door, star in hand, at the beginning of the _Jerusalem_, and thread by his light those infinite dark passages and labyrinthine catacombs of invention or thought. In default of that desirable possibility, let us make such way as we can for ourselves into this submarine world, along its slippery and unpaven ways, under its roof of hollow sound and tumbling storm.

"We shall see, while above us
The waves roar and whirl,
A ceiling of amber,
A pavement of pearl."

At the entrance of the labyrinth we are met by huge mythologic figures, created of fire and cloud. Titans of monstrous form and yet more monstrous name obstruct the ways; sickness or sleep never formed such savage abstractions, such fierce vanities of vision as these: office and speech they seem at first to have none: but to strike or clutch at the void of air with feeble fingers, to babble with vast lax lips a dialect barren of all but noise, loud and loose as the wind. Slowly they grow into something of shape, assume some foggy feature and indefinite colour: word by word the fluctuating noise condenses into music, the floating music divides into audible notes and scales. The sound which at first was as the mere collision of cloud with cloud is now the recognizable voice of god or demon. Chaos is cloven into separate elements; air divides from water, and earth releases fire. Upon each of these the prophet, as it were, lays hand, compelling the thing into shape and speech, constraining the abstract to do service as a man might. These and such as these make up the personal staff or executive body of his prophecies. But it would be waste of time to conjecture how or why he came to inflict upon them such incredible names. These hapless energies and agencies are not simply cast into the house of allegoric bondage, and set to make bricks without straw, to construct symbols without reason; but find themselves baptized with muddy water and fitful fire, by names inconceivable, into a church full of storm and vapour; regenerated with a vengeance, but disembodied and disfigured in their resurrection. Space fell into sleep, and awoke as Enitharmon: Time suffered eclipse, and came forth as Los. The Christ or Prometheus of this faith is Orc or Fuzon; Urizen takes the place of "Jehovah, Jove, or Lord." Hardly in such chaotic sounds can one discern the slightest element of reason gone mad, the narrowest channel of derivation run dry. In this last word, one of incessant recurrence, there seems to flicker a thin reminiscence of such names as Uranus, Uriel, and perhaps Urien; for the deity has a diabolic savour in him, and Blake was not incapable of mixing the Hellenic, the Miltonic, and the Celtic mythologies into one drugged and adulterated compound. He had read much and blindly; he had no leaning to verbal accuracy, and never acquired any faculty of comparison. Any sound that in the dimmest way suggested to him a notion of hell or heaven, of passion or power, was significant enough to adopt and register. Commentary was impossible to him: if his work could not be apprehended or enjoyed by an instinct of inspiration like his own, it was lost labour to dissect or expound; and here, if ever, translation would have been treason. He took the visions as they came; he let the words lie as they fell. These barbarous and blundering names are not always without a certain kind of melody and an uncertain sort of meaning. Such as they are, they must be endured; or the whole affair must be tossed aside and thrown up. Over these clamorous kingdoms of speech and dream some few ruling forces of supreme discord preside: and chiefly the lord of the world of man; Urizen, God of cloud and star, "Father of jealousy," clothed with a splendour of shadow, strong and sad and cruel; his planet faintly glimmers and slowly revolves, a horror in heaven; the night is a part of his thought, rain and wind are in the passage of his feet; sorrow is in all his works; he is the maker of mortal things, of the elements and sexes; in him are incarnate that jealousy which the Hebrews acknowledged and that envy which the Greeks recognized in the divine nature; in his worship faith remains one with fear. Star and cloud, the types of mystery and distance, of cold alienation and heavenly jealousy, belong of right to the God who grudges and forbids: even as the spirit of revolt is made manifest in fiery incarnation--pure prolific fire, "the cold loins of Urizen dividing." These two symbols of "cruel fear" or "starry jealousy" in the divine tyrant, of ardent love or creative lust in the rebellious saviour of man, pervade the mystical writings of Blake. Orc, the man-child, with hair and flesh like fire, son of Space and Time, a terror and a wonder from the hour of his birth, containing within himself the likeness of all passions and appetites of men, is cast out from before the face of heaven; and falling upon earth, a stronger Vulcan or Satan, fills with his fire the narrowed foreheads and the darkened eyes of all that dwell thereon; imprisoned often and fed from vessels of iron with barren food and bitter drink,[49] a wanderer or a captive upon earth, he shall rise again when his fire has spread through all lands to inflame and to infect with a strong contagion the spirit and the sense of man, and shall prevail against the law and the commandments of his enemy. This endless myth of oppression and redemption, of revelation and revolt, runs through many forms and spills itself by strange straits and byways among the sands and shallows of prophetic speech. But in these books there is not the substantial coherence of form and reasonable unity of principle which bring within scope of apprehension even the wildest myths grown out of unconscious idealism and impulsive tradition. A single man's work, however exclusively he may look to inspiration for motive and material, must always want the breadth and variety of meaning, the supple beauty of symbol, the infectious intensity of satisfied belief, which grow out of creeds and fables native to the spirit of a nation, yet peculiar to no man or sect, common yet sacred, not invented or constructed, but found growing and kept fresh with faith. But for all the dimness and violence of expression which pervert and darken the mythology of these attempts at gospel, they have qualities great enough to be worth finding out. Only let none conceive that each separate figure in the swarming and noisy life of this populous daemonic creation has individual meaning and vitality. Blake was often taken off his feet by the strong currents of fancy, and indulged, like a child during its first humour of invention, in wild byplay and erratic excesses of simple sound; often lost his way in a maze of wind-music, and transcribed as it were with eyes closed and open ears the notes caught by chance as they drifted across the dream of his subdued senses. Alternating between lyrical invention and gigantic allegory, it is hard to catch and hold him down to any form or plan. At one time we have mere music, chains of ringing names, scattered jewels of sound without a thread, tortuous network of harmonies without a clue; and again we have passages, not always unworthy of an Aeschylean chorus, full of fate and fear; words that are strained wellnigh in sunder by strong significance and earnest passion; words that deal greatly with great things, that strike deep and hold fast; each inclusive of some fierce apocalypse or suggestive of some obscure evangel. Now the matter in hand is touched with something of an epic style; the narrative and characters lose half their hidden sense, and the reciter passes from the prophetic tripod to the seat of a common singer; mere names, perhaps not even musical to other ears than his, allure and divert him; he plays with stately cadences, and lets the wind of swift or slow declamation steer him whither it will. Now again he falls with renewed might of will to his purpose; and his grand lyrical gift becomes an instrument not sonorous merely but vocal and articulate. To readers who can but once take their stand for a minute on the writer's footing, look for a little with his eyes and listen with his ears, even the more incoherent cadences will become not undelightful; something of his pleasure, with something of his perception, will pass into them; and understanding once the main gist of the whole fitful and high-strung tune, they will tolerate, where they cannot enjoy, the strange diversities and discords which intervene.

Among many notable eccentricities we have touched upon but two as yet; the huge windy mythology of elemental daemons, and the capricious passion for catalogues of random names, which make obscure and hideous so much of these books. Akin to these is the habit of seeing or assuming in things inanimate or in the several limbs and divisions of one thing, separate forms of active and symbolic life. This, like many other of Blake's habits, grows and swells enormously by progressive indulgence. At first, as in _Thel_, clouds and flowers, clods and creeping things, are given speech and sense; the degree of symbolism is already excessive, owing to the strength of expression and directness of dramatic vision peculiar to Blake; but in later books everything is given a soul to feel and a tongue to speak; the very members of the body become spirits, each a type of some spiritual state. Again, in the prophecies of _Europe_ and _America_, there is more fable and less allegory, more overflow of lyrical invention, more of the divine babble which sometimes takes the place of earthly speech or sense, more vague emotion with less of reducible and amenable quality than in almost any of these poems. In others, a habit of mapping out and marking down the lines of his chaotic and Titanic scenery has added to Blake's other singularities of manner this above all, that side by side with the jumbled worlds of Tharmas and Urthona, the whirling skies and plunging planets of Ololon and Beulah, the breathless student of prophecy encounters places and names absurdly familiar; London streets and suburbs make up part of the mystic antediluvian world; Fulham and Lambeth, Kentish Town and Poland Street, cross the courses and break the metres of the stars. This apparent madness of final absurdity has also its root in the deepest and soundest part of Blake's mind and faith. In the meanest place as in the meanest man he beheld the hidden spirit and significance of which the flesh or the building is but a type. If continents have a soul, shall suburbs or lanes have less? where life is, shall not the spirit of life be there also? Europe and America are vital and significant; we mean by all names somewhat more than we know of; for where there is anything visible or conceivable, there is also some invisible and inconceivable thing. This is but the rough grotesque result of the tenet that matter apart from spirit is non-existent. Launched once upon that theory, Blake never thought it worth while to shorten sail or tack about for fear of any rock or shoal. It is inadequate and even inaccurate to say that he allotted to each place as to each world a presiding daemon or deity. He averred implicitly or directly, that each had a soul or spirit, the quintessence of its natural life, capable of change but not of death; and that of this soul the visible externals, though a native and actual part, were only a part, inseparable as yet but incomplete. Thus whenever, to his misfortune and ours, he stumbles upon the proper names of terrene men and things, he uses these names as signifying not the sensual form or body but the spirit which he supposed to animate these, to speak in them and work through them. In _America_ the names of liberators, in _Jerusalem_ the names of provinces, have no separate local or mundane sense whatever; throughout the prophecies "Albion" is the mythical and typical fatherland of human life, much what the East might seem to other men: and by way of making this type actual and prominent enough, Blake seizes upon all possible divisions of the modern visible England in town or country, and turns them in his loose symbolic way into minor powers and serving spirits. That he was wholly unconscious of the intolerably laughable effect we need not believe. He had all the delight in laying snares and giving offence, which is proper to his kind. He had all the confidence in his own power and right to do such things and to get over the doing of them which accompanies in such men the subtle humour of scandalizing. And unfortunately he had not by training, perhaps not by nature, the conscience which would have reminded him that whether or not an artist may allowably play with all other things in heaven and earth, one thing he must certainly not play with; the material forms of art: that levity and violence are here prohibited under grave penalties. Allowing however for this, we may notice that in the wildest passages of these books Blake merely carries into strange places or throws into strange shapes such final theories as in the dialect of calmer and smaller men have been accounted not unreasonable.

Further preface or help, however loudly the subject might seem to call for it, we have not in this place to give; and indeed more words would possibly not bring with them more light. What was explicable we have endeavoured to explain; to suggest where a hint was profitable; to prepare where preparation was feasible: but many voices might be heard crying in this wilderness before the paths were made straight. The pursuivant would grow hoarse and the outrider saddle-sick long before the great man's advent; and for these offices we have no further taste or ability. Those who will may now, with what furtherance they have here, follow us through some brief revision of each book in its order.[50]

The Author & Printer Will{m} Blake. 1789.]

_The Book of Thel_, first in date and simplest in tone of the prophecies, requires less comment than the others. This poem is as the one sister, feeblest if also fairest, among that Titanic brotherhood of books. It has the clearness and sweetness of spring-water; they have in their lips the speech, in their limbs the pulses of the sea. In this book, as in the illustrations to Blair, the poet attempts to comfort life through death; to assuage by spiritual hope the fleshly fear of man. The "shining woman," youngest and mortal daughter of the angels of God, leaving her sisters to tend the flocks and close the folds of the stars, fills herself with the images of perishable things; she feeds upon the sorrow that comes of beauty, the heathen weariness of heart, that is sick of life because death will come, seeing how "our little life is rounded with a sleep." Let all these things go, for they are mortal; but if I die with the flowers, let me also die as they die. This is the end of all things, to sleep; but let me fall asleep softly, not without the lulling sound of God's voice audible in my ears. The flower makes answer; does God not care for the least of these? they shall not die, they shall all be changed. She answers again; the flower is serviceable to God's creatures, giving food to the pasturing lambs and flavour to the honey of the gleaning bees: but her beauty is barren as a lighted cloud's; wherefore should she live? She is bidden to seek counsel then of the cloud; and of him she asks the secret of his glad ephemeral life; for she, not less ephemeral, has no such joy of her life. Here again she is shown that life and permanence are twain; the cloud has drunk at the springs of the sun, whence all hours are renewed; and shall not die though he pass away; for his falling drops find out the living flowers, and are wedded to the dew in these; and they are made one before the sun, and kept alive to feed other flowers: and all these are as women and men, having souls and senses, capable of love and prayer. But she answers, that of her fair body no cloud or bird gets food, but the worm only; why should anything survive of her who has been helpful to nothing? The worm therefore is called to witness; and appears in an infant's likeness, inarticulate, naked, weeping; but upon it too the divine earth has mercy, and the clay finds a voice to speak for it; this likewise is not the sad unprofitable thing it seems; for the very earth, baser and liker death than the least thing bred of it, is the bride of God, a fruitful mother of all his children. "We live not for ourselves;" else indeed were earth and the worm of earth things mournful and fruitless. The secret of creation is sacrifice; the very act of growth is a sacrament: and through this eternal generation in which one life is given for another and shed into new veins of existence, each thing is redeemed from perpetual death by perpetual change. This secret once made evident to Thel, her fear is in a measure removed; for the very deathbed of earth in which she must lie is now revealed as a mother's bosom, warm and giving warmth, living and prodigal of life. That God would care for the least thing he made she knew always; but now knows also that in the least thing there is something of God's life infused, which makes it substantially imperishable. So far one may say the poem is as fluent and translucent as the merest sermon on faith, hope, and charity could well be: and not less inoffensive. The earth, who has overheard and gathered up all the flitting sighs of this unwedded Eve, now unveils to her the mysteries of the body, bred in the grave whither all sorrows tend and whence all tears arise. The forces of material nature give way before her; passing to her own grave, she hears thence a voice lamenting over the nature of all the senses, their sweet perilous gifts and strange limits, and all their offices which fill and discolour the days of mortal life. To this, the question lying at the root of life and under the shadow of death, nothing makes answer; as though no word spoken upon earth or under could explain the marvel of the flesh, the infinite beauty and delight of it, the infinite subtlety and danger; its prodigalities and powers, its wide capacity and utter weakness. Set face to face with this bodily mystery, and affrighted at the sudden nakedness of natural life, the soul recoils; and Thel regains the common air and quiet light of earth. Such, cut short and melted down, is the purport of this poem: a prophecy as literally as any other of Blake's, being professedly an inspired exposition of material things; for none of course pretend to be prophecies in the inaccurate and vulgar sense of prediction. It is full of small sweet details, bright and soft as summer grass, regular to monotony in its cadence until the last division, where the tone suddenly strengthens and deepens. There and not for the last time the strong imagination of Blake wrestles with the great questions of physical life, constraining the mute rebellious flesh as in a fervent and strenuous grasp of spirit, if perchance it will yield up the heart of its mystery. Throughout the book his extreme and feminine tenderness of faith speaks more softly and shows a simpler face than elsewhere. One might almost say that _Thel_ had overmuch of this gracious and delicate beauty; that the intense faith and compassion which thus animate all matter give a touch of almost dubious and effeminate sweetness to the thought and style. Not however justly; for there is a firm body of significance in the poem, and the soft light leaves in which the fruit lies wrapped are solid as well as sweet.

It is well worth while to compare any average copy of _Thel_ with the smaller volume of designs now in the British Museum, which reproduces among others the main illustrations of this book. The clear, sweet, pallid colour of the fainter version will then serve to throw into full effect the splendour of the more finished work. Especially in the separate copy of the frontispiece, the sovereignty of colour and glorious grace of workmanship double and treble its original beauty; give new light and new charm to the fervent heaven, to the bowing figure of the girl, to the broad cloven blossoms whose flickering and sundering petals release the bright leaping forms of loving spirits, raindrop and dewdrop wedded before the sun; and again, where Thel sees the worm in likeness of a new-born child, the colours of tree and leaf and sky are of a more excellent and lordly beauty than in any copy known to me of the book itself; though in all good copies these designs appear full of great and gracious qualities. Of the book of designs here referred to more must not now be said; not even of the twelfth plate where the mother-goddess and her fiery first-born child exult with flying wingless limbs through splendid spaces of the infinite morning, coloured here like opening flowers and there like climbing fire, where all the light and all the wind of heaven seem to unite in fierce gladness as of a supreme embrace and exultation; for to these better praise than ours has been already given at p. 374 of the _Life_, in words of choice and incomparable sufficiency, not less bright and sweet, significant and subtle, than the most tender or perfect of the designs described.

In 1790 Blake produced the greatest of all his books; a work indeed which we rank as about the greatest produced by the eighteenth century in the line of high poetry and spiritual speculation. _The Marriage of Heaven and Hell_ gives us the high-water mark of his intellect. None of his lyrical writings show the same sustained strength and radiance of mind; none of his other works in verse or prose give more than a hint here and a trace there of the same harmonious and humorous power, of the same choice of eloquent words, the same noble command and liberal music of thought; small things he could often do perfectly, and great things often imperfectly; here for once he has written a book as perfect as his most faultless song, as great as his most imperfect rhapsody. His fire of spirit fills it from end to end; but never deforms the body, never singes the surface of the work, as too often in the still noble books of his later life. Across the flicker of flame, under the roll and roar of water, which seem to flash and to resound throughout the poem, a stately music, shrill now as laughter and now again sonorous as a psalm, is audible through shifting notes and fitful metres of sound. The book swarms with heresies and eccentricities; every sentence bristles with some paradox, every page seethes with blind foam and surf of stormy doctrine; the humour is of that fierce grave sort, whose cool insanity of manner is more horrible and more obscure to the Philistine than any sharp edge of burlesque or glitter of irony; it is huge, swift, inexplicable; hardly laughable through its enormity of laughter, hardly significant through its condensation of meaning; but as true and thoughtful as the greatest humourist's. The variety and audacity of thoughts and words are incomparable: not less so their fervour and beauty. "No bird soars too high if he soars with his own wings." This proverb might serve as motto to the book: it is one of many "Proverbs of Hell," as forcible and as finished.

It was part of Blake's humour to challenge misconception, conscious as he was of power to grapple with it: to blow dust in their eyes who were already sandblind, to strew thorns under their feet who were already lame. Those whom the book in its present shape would perplex and repel he knew it would not in any form have attracted; and how such readers may fare is no concern of such writers; nor in effect need it be. Aware that he must at best offend a little, he did not fear to offend much. To measure the exact space of safety, to lay down the precise limits of offence, was an office neither to his taste nor within his power. Those who try to clip or melt themselves down to the standard of current feeling, to sauce and spice their natural fruits of mind with such condiments as may take the palate of common opinion, deserve to disgust themselves and others alike. It is hopeless to reckon how far the timid, the perverse, or the malignant irrelevance of human remarks will go; to set bounds to the incompetence or devise landmarks for the imbecility of men. Blake's way was not the worst; to indulge his impulse to the full and write what fell to his hand, making sure at least of his own genius and natural instinct. In this his greatest book he has at once given himself freer play and set himself to harder labour than elsewhere: the two secrets of great work. Passion and humour are mixed in his writing like mist and light; whom the light may scorch or the mist confuse it is not his part to consider.

In the prologue Blake puts forth, not without grandeur if also with an admixture of rant and wind, a chief tenet of his moral creed. Once the ways of good and evil were clear, not yet confused by laws and religions; then humility and benevolence, the endurance of peril and the fruitful labour of love, were the just man's proper apanage; behind his feet the desert blossomed; by his toil and danger, by his sweat and blood, the desolate places were made rich and the dead bones clothed with flesh as the flesh of Adam. Now the hypocrite has come to reap the fruits, to divide and gather and eat; to drive forth the just man and to dwell in the paths which he found perilous and barren, but left safe and fertile. Churches have cast out apostles; creeds have rooted out faith. Henceforth anger and loneliness, the divine indignation of spiritual exile, the salt bread of scorn and the bitter wine of wrath, are the portion of the just man; he walks with lions in the waste places, not worth making fertile that others may reap and feed. "Rintrah," the spirit presiding over this period, is a spirit of fire and storm; darkness and famine, wrath and want, divide the kingdoms of the world. "Prisons are built with stones of Law; brothels with bricks of Religion." "As the caterpillar chooses the fairest leaves to lay her eggs on, so the priest lays his curse on the fairest joys." In a third proverb the view given of prayer is no less heretical; "As the plough follows words, so God rewards prayers." This was but the outcome or corollary of his main doctrine; as what we have called his "evangel of bodily liberty" was but the fruit of his belief in the identity of body with soul. The fear which restrains and the faith which refuses were things as ignoble as the hypocrisy which assumes or the humility which resigns. Veils and chains must be lifted and broken. "Folly is the cloak of knavery; shame is pride's cloak." Again; "He who desires but acts not breeds pestilence." "Sooner murder an infant in its cradle than nurse unacted desires." The doctrine of freedom could hardly run further or faster. Translated into rough practice, and planted in a less pure soil than that of the writer's mind, this philosophy might bring forth a strange harvest. Together with such width of moral pantheism as will hardly admit a "tender curb," leave "a little curtain of flesh on the bed of our desire," there is a vehemence of faith in divine wrath, in the excellence of righteous anger and revenge, to be outdone by no prophet or Puritan. "A dead body revenges not injuries." Sincerity and plain dealing at least are virtues not to be thrown over; Blake indeed could not conceive an impulse to mendacity, a tortuous habit of mind, a soul born crooked. This one quality of falsehood remains damnable in his sight, to be consumed with all that comes of it. In man or beast or any other part of God he found no native taint or birthmark of this. Upon all else the divine breath and the divine hand are sensible and visible.

"The pride of the peacock is the glory of God;
The lust of the goat is the bounty of God;
The wrath of the lion is the wisdom of God;
The nakedness of woman is the work of God."

All form and all instinct is sacred; but no invention or device of man's. All crafts and creeds of theirs are "the serpent's meat:" and that a man should be born cruel and false is barely imaginable. "If the lion was advised by the fox he would be cunning." Such counsel was always wasted on the high clear spirit and stainless intellect of Blake.