After learning about Blake’s Moravian tradition, I will assume I am not the only who feel slightly uncomfortable about the Sifting Time theologies. Yes, we cannot deny the influence of Moravian on Blake, so does that of Swedenborg. However, I don’t see Blake’s devil will agree with either of them. The voice of the Devil is definitely anti-Swedenborg, who believes in the separation of spirit and body: “Man has no Body distinct from his Soul for that called Body is a portion of Soul” (70). Meanwhile, I don’t think the devil will believe the actual sexual relationship between Soul and Body, Heaven and Hell, as a good idea. Instead, the Blakean character says: “Opposition is True Friendship” (78). Blake does not characterize the relationship between contraries as marriage or sexual, but as friendship. This word choice reveals Blake’s fundamental difference from Moravian tradition. Moravian tradition believes that the only way to transcend rules and see vision is to reconcile the contraries between Body and Soul through sex. Blake does not want to reconcile the contraries because “without contraries is no progression” (69). When contraries are reconciled, there will not be contraries and people will stop thinking. Thus, new rules will be established. What Blake wants instead is a constant breaking of law. What he pursues is this constant motion of transcending. A word like Marriage in the title of this series is against the theory of contraries because a marital relationship is too intimate for contraries.
Tag Archive: contraries and paradoxes
This frontispiece by Wale exemplifies many of the discernible themes in Blake’s Songs of Experience. Blake begins his Songs with the voice of the Bard–a voice that serves as a seeming contrary to that of the piper, the speaker in Songs of Innocence. A bard, though more generally defined as a reciting poet, also has more traditional roots in the Scottish Gaelic tradition that was romanticized by Sir Walter Scott. This association immediately called to mind Wale’s frontispiece and, when considered more closely, even more similarities arose.
This engraving marked a dual alteration in the literary and authorial culture during the mid-eighteenth century. Firstly, it symbolized the necessary transition from aural to written work. Without this transition, the record of poetry from that time would have been lost. By segueing from mere song to engraving, the work of poets was enabled to endure, emphatically emphasized and legitimatized by the Latin phrase “durat opus vatum.” Secondly, it suggests the re-imagination of poetry as the ballad form and themes of chivalric romance were recovered and remade in original forms.
As Blake’s work “The Tyger” suggests, Blake valorized natural, organic elements by referencing “distant deeps, skies….forests of the night.” In a self-referential fashion, Blake reveals the paradox of utilizing the Poetic Genius to conjure images and poetic stanzas while constricting them to a fixed frame through the mechanized process of engraving. Such a paradox is visually and metaphorically manifested in his engraving of a tiger that takes on the appearance of a docile, domestic feline. Wale’s frontispiece vignette similarly manifests contraries and paradoxes with its traditional Gaelic images coalesced with Gothic iconography, classical components, and allusions to the Enlightenment period. The harp, both a classical and Gaelic image, seems to be surrendering to a new, budding tradition, as symbolized by the growing tree. Coupled together, these images serve as a metaphor for the transition from the aural tradition of song. The Gothic arches are a testament to Romantic culture as is the glorification of nature espoused by the upright, central tree. The Latin phrase represents intellect and the act of logically translating it to an understood language recalls the Enlightment’s emphasis on reasoning. (This component of the frontispiece would have been derided by Blake as a product of Urizen and institutionalization.) Thus, the work of Blake and Wale can be deemed “sister works” questioning the ability of an artist to truly express his Poetic Genius.