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Writers actually do a lot of this, elegizing each other, talking about each other. Keep a look out for that. It's a favorite quiz question to ask about writers who wrote about other writers. In , Blake starts working on a poem called Jerusalem , which is his longest and also most illuminated work that just means more of those illustrations , completed in It's really long; it has about etched and illustrated plates, which is kind of cool.

It involved Blake's own mythology about Britain. There's Albion, who is the primeval fallen man, and other characters. There isn't a linear plot. It's not really beach reading; it's kind of difficult. Jerusalem isn't just a city, it's a female character and it's the title of the book. It gets very complicated very fast. That one's not usually on the syllabus. Blake died in At the time of his death, he was working on a bunch of engravings for Dante's Divine Comedy , which, like we said before, he doesn't totally agree with Dante and Milton and their concept of Hell, so his etchings end up being kind of critical of what's going on in Dante.

So, that's kind of an interesting final project for him. To sum things up, Blake was a Romantic poet , but he was also a prominent illustrator and engraver. His signature method involved this etching called illuminated printing , which was basically putting all the acid on the paint and letting the image come forth in relief. He thought that his dead brother's ghost taught it to him because, yeah, he was also a mystic who had visions. A Poem and Jerusalem.

That's a summary of William Blake. To unlock this lesson you must be a Study. Did you know… We have over college courses that prepare you to earn credit by exam that is accepted by over 1, colleges and universities. You can test out of the first two years of college and save thousands off your degree. Anyone can earn credit-by-exam regardless of age or education level.

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Research Methods in Psychology. Ellie Green Ellie holds a B. Who is William Blake? Early Life and Visions William Blake was a major Romantic poet, and he was also kind of a visual artist. Illuminated Printing Blake was primarily known for something called relief etching, also known as illuminated printing. Poetic Works Blake's doing a lot of this etching stuff, but he also wrote poetry.

The opening lines of the poem go like this: Try it risk-free No obligation, cancel anytime. Want to learn more? Select a subject to preview related courses: Romantic Works Outside of poetry, Blake was a radical thinker.

Lesson Summary To sum things up, Blake was a Romantic poet , but he was also a prominent illustrator and engraver. Lesson Objectives After watching this lesson, you should be able to: Explain William Blake's early life and mystic nature Define illuminated printing and how Blake invented this method Identify and describe Blake's major poems. Unlock Your Education See for yourself why 30 million people use Study. Become a Member Already a member?

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Blake's financial enterprises also did not fare well. In , after his father's death, Blake used part of the money he inherited to set up shop as a printseller with his friend James Parker. The Blakes moved to 27 Broad Street, next door to the family home and close to Blake's brothers. The business did not do well, however, and the Blakes soon moved out. Of more concern to Blake was the deteriorating health of his favorite brother, Robert. Blake tended to his brother in his illness and according to Gilchrist watched the spirit of his brother escape his body in his death: He even announced that it was Robert who informed him how to illustrate his poems in "illuminated writing.

The plate was then dipped in acid so that the text and design remained in relief. That plate could be used to print on paper, and the final copy would be then hand colored. Blake continued to experiment with the process of illuminated writing and in combined the early poems with companion poems entitled Songs of Experience. The title page of the combined set announces that the poems show "the two Contrary States of the Human Soul.

The introductory poems to each series display Blake's dual image of the poet as both a "piper" and a "Bard. The pleasant lyrical aspect of poetry is shown in the role of the "piper" while the more somber prophetic nature of poetry is displayed by the stern Bard.

In the "Introduction" to Songs of Innocence , Blake presents the poet in the form of a simple shepherd: The "piping songs" are poems of pure pleasure. The songs of pleasure are interrupted by the visionary appearance of an angel who asks for songs of more seriousness:.

The piper is no longer playing his songs for his own enjoyment. Now the piper is in the position of a poet playing at the request of an appreciative audience.

The "song about a Lamb" suggests a poem about the "Lamb of God," Christ. The child commands that the poet not keep the songs for himself but share them with his audience:. The "book" is Songs of Innocence , which is designed in a form that "all may read. He no longer writes only for his own enjoyment but for the delight of his audience. The piper is inspired by the directions of the child, and the poet is inspired by his vision of his audience.

The child vanishes as the author interiorizes his vision of his audience and makes it a central part of his work. Immediately after the child's disappearance, the author begins the actual physical composition of the poem by plucking the hollow reed for his poem. At the end of the poem the poet is no longer the simple shepherd of Arcadia playing for his own amusement.

Now he writes his poems for "Every child" of England. The "Introduction" to Songs of Experience is a companion to the earlier poem, and, as a poem written in the state of experience, it presents a different view of the nature of the poet and his relation to his audience.

The strident tone of the first stanza provides a marked contrast to the gentle piping of the first poem and reminds us that we are now in the state of experience:. This is not an invocation, but a direct command to the reader to sit up and pay attention.

Instead of playing at the request of his audience, the poet now demands that his reader listen to him. The speaker now has authority because of what he has heard. The voice of the poet is that of the ancient Bard and that also of the biblical prophet who has heard the "Holy Word," the word of God. Assuming the role of the prophet and the Bard gives the modern poet a sense of biblical authority to speak on matters sacred and profane.

With his authority, the Bard is more willing to instruct his audience than is the piper. The Bard repeats the call of the Holy Word to fallen man. The message repeated by the Bard is that man still "might control" the world of nature and bring back the "fallen light" of vision. Blake presents two sides of his view of the poet in these introductory poems. Neither one should be dismissed in favor of the other.

The poet is both a pleasant piper playing at the request of his audience and a stern Bard lecturing an entire nation. In part this is Blake's interpretation of the ancient dictum that poetry should both delight and instruct. More important, for Blake the poet is a man who speaks both from the personal experience of his own vision and from the "inherited" tradition of ancient Bards and prophets who carried the Holy Word to the nations. In reading any of the poems, one has to be aware of the mental "state" of the speaker of the poems.

In some cases the speakers address the same issue, but from entirely different perspectives. The child of "The Chimney Sweeper" in Songs of Innocence lives in deplorable conditions and is clearly exploited by those around him: The speaker is also a child, but one who understands the social forces that have reduced him to misery:. In each poem the reader can see what the speaker can not always see because of his unique perspective: The famous companion poems " The Lamb " and " The Tyger " are also written on the same subject: Yet, how man understands God depends on man's view of God's divinity.

In "The Lamb" the speaker makes the traditional association between a lamb and the "Lamb of God," Christ:. The speaker sees God in terms he can understand. God is gentle and kind and very much like us.

The close association between the "I," "child," and "lamb" suggests that all men share in the same spiritual brotherhood. The speaker in "The Tyger" also sees God in terms he can understand, but he sees him from a different perspective. The raging violence of the animal forces him to ask what kind of God could create such terror:.

The answer, of course, is never given, but again the reader should be able to perceive more than the speaker of the poem. God did make both the lamb and the tyger, and his nature contains both the gentleness of the lamb and the violence of the tyger. Neither perspective is true by itself; both have to be understood. The two states of innocence and experience are not always clearly separate in the poems, and one can see signs of both states in many poems.

The companion poems titled "Holy Thursday" are on the same subject, the forced marching of poor children to St. Paul's Cathedral in London.

The speaker in the state of innocence approves warmly of the progression of children:. The brutal irony is that in this world of truly "innocent" children there are evil men who repress the children, round them up like so many herd of cattle, and force them to show their piety.

In this state of innocence, experience is very much present. The speaker of the companion "Holy Thursday" presents an entirely different perspective:.

The speaker of experience understands that the children have been brutalized and places the blame for this condition not just on the "Grey headed beadles" who have direct responsibility for the children but on the country at large.

In a "rich and fruitful land" like England, it is appalling that children are allowed to suffer:. If experience has a way of creeping into the world of innocence, innocence also has a way of creeping into experience.

The golden land where the "sun does shine" and the "rain does fall" is a land of bountiful goodness and innocence. But even here in this blessed land, there are children starving.

The sharp contrast between the two conditions makes the social commentary all the more striking and supplies the energy of the poem. The contrast between innocence and experience is also apparent in another illuminated book produced in , The Book of Thel. Thel is a maiden who laments the passing of youth and of innocence: Yet each understands that the transitory nature of beauty is necessary.

Thel is allowed to enter into the world of experience, and she is startled by a voice from her own grave:. The Virgin is shocked by this peek into her own sexuality and mortality and runs back to the quiet vales of Har "with a shriek. Thel's world of soft watercolors is not enough. She cannot understand that even the lowly worm is loved by God and serves his part in creating life.

The storming of the Bastille in Paris in and the agonies of the French Revolution sent shock waves through England. Some hoped for a corresponding outbreak of liberty in England while others feared a breakdown of the social order. In much of his writing Blake argues against the monarchy. In his early Tiriel written circa Blake traces the fall of a tyrannical king. Politics was surely often the topic of conversation at the publisher Joseph Johnson's house, where Blake was often invited.

According to one legend Blake is even said to have saved Paine's life by warning him of his impending arrest. Whether or not that is true, it is clear that Blake was familiar with some of the leading radical thinkers of his day. In The French Revolution Blake celebrates the rise of democracy in France and the fall of the monarchy. King Louis represents a monarchy that is old and dying. The sick king is lethargic and unable to act: The "voice of the people" demands the removal of the king's troops from Paris, and their departure at the end of the first book signals the triumph of democracy.

On the title page for book one of The French Revolution Blake announces that it is "A Poem in Seven Books," but none of the other books has been found. The "Advertisement" to the poem promises "The remaining Books of the Poem are finished, and will be published in their Order. Johnson never published the poem, perhaps because of fear of prosecution, or perhaps because Blake himself withdrew it from publication.

Johnson did have cause to be nervous. Erdman points out that in the same year booksellers were thrown in jail for selling the works of Thomas Paine. In America Blake also addresses the idea of revolution, but the poem is less a commentary on the actual revolution in America as it is a commentary on universal principles that are at work in any revolution. The fiery figure of Orc represents all revolutions:. The same force that causes the colonists to rebel against King George is the force that overthrows the perverted rules and restrictions of established religions.

The revolution in America suggests to Blake a similar revolution in England. In the poem the king, like the ancient pharaohs of Egypt, sends pestilence to America to punish the rebels, but the colonists are able to redirect the forces of destruction to England. Erdman suggests that Blake is thinking of the riots in England during the war and the chaotic condition of the English troops, many of whom deserted.

Writing this poem in the s, Blake also surely imagined the possible effect of the French Revolution on England. Another product of the radical s is The Marriage of Heaven and Hell.

Written and etched between and , Blake's poem brutally satirizes oppressive authority in church and state. The poem also satirizes the works of Emanuel Swedenborg, the Swedish philosopher whose ideas once attracted Blake's interests. The powerful opening of the poem suggests a world of violence: The cause of that chaos is analyzed at the beginning of the poem. The world has been turned upside down. The "just man" has been turned away from the institutions of church and state, and in his place are fools and hypocrites who preach law and order but create chaos.

Those who proclaim restrictive moral rules and oppressive laws as "goodness" are in themselves evil. Hence to counteract this repression, Blake announces that he is of the "Devil's Party" that will advocate freedom and energy and gratified desire. The "Proverbs of Hell" are clearly designed to shock the reader out of his commonplace notion of what is good and what is evil:. It is the oppressive nature of church and state that has created the repulsive prisons and brothels. Sexual energy is not an inherent "evil," but the repression of that energy is.

The preachers of morality fail to understand that God is in all things, including the sexual nature of men and women. Blake is, of course, not advocating moral and political anarchy, but a proper balance of energy and its opposing force, reason. Reason is defined as "the bound or outward circumference of Energy. The Marriage of Heaven and Hell contains many of the basic religious ideas developed in the major prophecies. Blake analyzes the development of organized religion as a perversion of ancient visions: So far, so good, but the gods began to take on a life of their own separate from man: The gods are seen as separate from man, and an elite race of priests is developed to approach the gods: The Blakes lived in the house for ten years, and the surrounding neighborhood often becomes mythologized in his poetry.

Felpham was a "lovely vale," a place of trees and open meadows, but it also contained signs of human cruelty, such as the house for orphans. At his home Blake kept busy not only with his illuminated poetry but also with the daily chore of making money. During the s Blake earned fame as an engraver and was glad to receive numerous commissions.

One story told by Blake's friend Thomas Butts shows how much the Blakes enjoyed the pastoral surroundings of Lambeth. At the end of Blake's garden was a small summer house, and coming to call on the Blakes one day Butts was shocked to find the couple stark naked: Oothoon, the "soft soul of America," expresses her unrestricted love for Theotormon who cannot accept such love because he is limited by jealousy and possessiveness.

In the poem Oothoon is raped by Bromion, and the enraged Theotormon binds the two together. The frontispiece to the book shows Bromion and Oothoon back-to-back with their arms bound together while Theotormon, hunched over, stares at the ground. The relationship between Bromion and Oothoon is like that of marriage that is held together only by laws and not by love.

In her lament to Theotormon, Oothoon denounces the destruction of a woman's sexual desire:. The marriage "spells of law" bind a woman to man much like a slave is bound to a master, and marriage can become, in Mary Wollstonecraft's phrase, a form of "legalized prostitution.

In Blake produced a remarkable collection of illuminated works that have come to be known as the "Minor Prophecies. In these poems Blake examines the fall of man. In Blake's mythology man and God were once united, but man separated himself from God and became weaker and weaker as he became further divided. Throughout the poems Blake writes of the destructive aspects of this separation into warring identities.

The narrative of the universal mythology is interwoven with the historical events of Blake's own time. England's participation in the war against France and its attempt to quell the revolutionary spirit is addressed in Europe.

In Blake's poem liberty is repressed in England after it declares war on France:. The very force of that repression, however, will cause its opposite to appear in the revolutionary figure of Orc: Blake's minor prophecies are, of course, much more than political commentaries. In these poems Blake analyzes the universal forces at work when repression and revolution clash. Erdman has pointed out the historical parallel in Europe between Rintrah and William Pitt, the English Prime Minister who led his country into war against France.

Yet in the same poem we see references to repression from the time of Christ to the Last Judgement. Blake saw English repression of the French Revolution as but one moment in the stream of history. The causes of that repression are examined in The First Book of Urizen. The word Urizen suggests "your reason" and also "horizon.

In the frontispiece to the poem he is pictured as an aged man hunched over a massive book writing with both hands in other books. Behind him stand the tablets of the ten commandments, and Urizen is surely writing other "thou shalt nots" for others to follow. His twisted anatomical position shows the perversity of what should be the "human form divine.

He broods upon himself and comes to insist on laws for all to follow:. Urizen's repressive laws bring only further chaos and destruction. Like Milton's hell, Urizen's world is filled with the contradictions of darkness and fire: Appalled by the chaos he himself created, Urizen fashions a world apart.

The process of separation continues as the character of Los is divided from Urizen. Los, the "Eternal Prophet," represents another power of the human mind. Los forges the creative aspects of the mind into works of art. Like Urizen he is a limiter, but the limitations he creates are productive and necessary. In the poem Los forms "nets and gins" to bring an end to Urizen's continual chaotic separation. Los is horrified by the figure of the bound Urizen and is separated by his pity, "for Pity divides the Soul.

His female form is called Enitharmon, and her creation is viewed with horror:. This separation into separate sexual identities is yet another sign of man's fall. The "Eternals" contain both male and female forms within themselves, but man is divided and weak. Enitharmon gives birth to the fiery Orc, whose violent birth gives some hope for radical change in a fallen world, but Orc is bound in chains by Los, now a victim of jealousy.

Enitharmon bears an "enormous race," but it is a race of men and women who are weak and divided and who have lost sight of eternity. Urizen explores the fallen world, spreading his "Net of Religion" over the cities of men:. In his fallen state man has limited senses and fails to perceive the infinite. Divided from God and caught by the narrow traps of religion, he sees God only as a crude lawgiver who must be obeyed. The Book of Los also examines man's fall and the binding of Urizen, but from the perspective of Los whose task it is to place a limit on the chaotic separation begun by Urizen.

The decayed world is again one of ignorance where there is "no light from the fires. The human senses are pale imitations of the true senses that allow one to perceive eternity. Urizen's world where man now lives is spoken of as an "illusion" because it masks the spiritual world that is everywhere present. In The Song of Los , Los sings of the decayed state of man, where the arbitrary laws of Urizen have become institutionalized:.

The "philosophy of the five senses" espoused by scientists and philosophers argues that the world and the mind are like industrial machines operating by fixed laws but devoid of imagination, creativity, or any spiritual life. Blake condemns this materialistic view of the world espoused in the writings of Newton and Locke. Although man is in a fallen state, the end of the poem points to the regeneration that is to come:. The coming of Orc is likened not only to the fires of revolution sweeping Europe, but also to the final apocalypse when the "Grave shrieks with delight.

In The Book of Ahania Urizen is further divided into male and female forms. Urizen is repulsed by his feminine shadow that is called Ahania:. Blake satirizes the biblical and Miltonic associations of sin and lust. Urizen, the lawgiver, can not accept the liberating aspects of sexual pleasure.

At the end of the poem, Ahania laments the lost pleasures of eternity:. The physical pleasures of sexual union are celebrated as an entrance to a spiritual state. The physical union of man and woman is sign of the spiritual union that is to come. At the same time as he was writing these individual poems that center on aspects of man's fall, Blake was also composing an epic poem on the fall of man into separate identities.

Blake originally called the poem Vala and later changed the name to The Four Zoas. He worked on the poem for a number of years but never completed it. It survives in manuscript form with rough designs for illustrations, but it never became one of the "illuminated books. Albion is composed of "Four Mighty Ones": Tharmas, Urthona, Urizen, and Luvah.

Originally, in "Eden," these four exist in the unity of "The Universal Brotherhood. The poem traces the changes in Albion:. The poem begins with Tharmas and examines the fall of each aspect of man's identity. The poem progresses from disunity toward unity as each Zoa moves toward final unification. In the apocalyptic "Night the Ninth," the evils of oppression are overturned in the turmoil of the Last Judgment:.

The final overthrow of all kings and tyrants that earthly revolutions tried but failed to achieve will be accomplished on the last day. The "harvest" imagery is from the Book of Revelations and represents the process of gathering and discarding that marks the progress of man's soul on the last day. As dead men are rejuvenated, Christ, the "Lamb of God," is brought back to life and sheds the evils of institutionalized religions:. The heavenly City of Jerusalem is the true form of God's church.

The earthly city of Jerusalem and the numerous forms of religions are but pale imitations of that true religion where God and the church are joined. In that City man's separate identities are reunited, and man is reunited with God. Very little of Blake's poetry of the s was known to the general public. His reputation as an artist was mixed.

Response to his art ranged from praise to derision, but he did gain some fame as an engraver. He received several commissions, the most important probably being his illustrations to Edward Young's Night Thoughts. In the publisher and bookseller Richard Edwards commissioned Blake to illustrate the then-famous poems of Young. Blake produced watercolor designs of which 43 were selected for engraving. The first volume of a projected four-volume series was published in However, the project did not prove financially successful, and no further volumes were published.

After the disappointment of that project, Blake's friend and admirer Flaxman commissioned Blake to illustrate the poems of Thomas Gray. Blake painted watercolors and completed the project in Blake was also aided by his friend Thomas Butts, who commissioned a series of biblical paintings. His commissions did not produce much in the way of income, but Blake never seems to have been discouraged.

This sometimes led to heated exchanges between the independent artist and the wealthy patron. John Trusler was one such patron whom Blake failed to please. Trusler was something of a dabbler in a variety of fields. Aside from being a clergyman, he was a student of medicine, a bookseller, and the author of such works as Hogarth Moralized , The Way to be Rich and Respectable ? Blake's friend Cumberland had recommended Blake to Trusler in hopes of providing some needed income for Blake.

Blake, however, found himself unable to follow the clergyman's wishes: At any rate, my Excuse must be: I could not do otherwise; it was out of my power! Trusler was not convinced and replied that he found Blake's "Fancy" to be located in the "World of Spirits" and not in this world. Blake's rebuttal is a classic defense of his own principles. To the charge that Blake needed someone to "elucidate" his idea, Blake replied with characteristic wrath: The wisest of the Ancients consider'd what is not too Explicit as the fittest for Instruction, because it rouzes the faculities to act.

To the charge that his visions were not of this world, Blake replied that he had seen his visions in this world, but not all men see alike: As the Eye is formed, such are its Powers. Trusler could not understand Blake's drawings, the problem was his inability to see with the imagination.

Trusler was not the only patron that tried to make Blake conform to popular tastes. Blake's stormy relation to his erstwhile friend and patron William Hayley directly affected the writing of the epics Milton and Jerusalem. When Blake met him Hayley was a well-known man of letters who had produced several popular volumes of poetry.

His Triumphs of Temper , which admonishes women to control their tempers in order to be good wives, was very popular. In under Hayley's promptings Blake moved from London to the village of Felpham, where Hayley lived.

It was expected that Blake would receive numerous engraving commissions, and his financial problems would disappear. Hayley did provide Blake with some small commissions. Blake began work on a series of eighteen "Heads of the Poets" for Hayley's library and worked on the engravings for Hayley's Life of Cowper Hayley also set Blake to work on a series of small portraits, but Blake soon bristled under the watchful eye of his patron.

Who can describe the dismal torments of such a state! In the same month Blake wrote to his brother James that he is determined "To leave This Place" and that he can no longer accept Hayley's patronage: In April of that year he wrote to Butts that he was overjoyed to return to the city: Blake's letter reveals much of his attitude toward his patron and toward his readers.

Blake believed that his poetry could be read and understood by the general public, but he was determined not to sacrifice his vision in order to become popular. Men of letters such as Hayley would not be allowed to dictate his art.

Blake compares himself to the prophet Ezekiel, whom the Lord made strong to warn the Israelites of their wickedness. Blake's images of a stern prophet locked head to head with his adversary is a fitting picture of part of Blake's relation with his reader. Blake knew that his poetry would be derided by some readers. In Milton Blake tells us that "the idiot reasoner laughs at the Man of Imagination," and in the face of that laughter Blake remained resolute. In his "slumber on the banks of the Ocean," Blake, surrounded by financial worries and hounded by a patron who could not appreciate his art, reflected on the value of visionary poetry.

Milton , which Blake started to engrave in probably finishing in , is a poem that constantly draws attention to itself as a work of literature. Its ostensible subject is the poet John Milton , but the author, William Blake, also creates a character for himself in his own poem. Blake examines the entire range of mental activity involved in the art of poetry from the initial inspiration of the poet to the reception of his vision by the reader of the poem.

Milton examines as part of its subject the very nature of poetry: In the preface to the poem, Blake issues a battle cry to his readers to reject what is merely fashionable in art:. For as he makes clear, Blake demands the exercise of the creative imagination from his own readers. In the well-known lyric that follows, Blake asks for a continuation of Christ's vision in modern-day England:. The poet-prophet must lead the reader away from man's fallen state and toward a revitalized state where man can perceive eternity.

We see man's fall in the ruined form of Albion as a representative of all men and in the fall of Palamabron from his proper position as prophet to a nation. Interwoven into this narrative are the Bard's addresses to the reader, challenges to the reader's senses, descriptions of contemporary events and locations in England, and references to the life of William Blake.

Blake is at pains to show us that his mythology is not something far removed from us but is part of our day to day life. Blake describes the reader's own fall from vision and the possibility of regaining those faculties necessary for vision. In this case the Bard's final burst of vision is important not only for its content, but also for its placement in the poem.

The Bard's sudden vision of the Lamb of God testifies that man need not remain "in chains of the mind Lock'd up. At the end of the Bard's Song, the Bard's power of vision is questioned much as Blake's prophecies were criticized. The Bard's spirit is incorporated into that of the poet Milton. Blake portrays Milton as a great but flawed poet who must unify the separated elements of his own identity before he can reclaim his powers of vision and become a true poet. Upon hearing the Bard's Song, Milton is moved to descend to earth and begin the process of becoming an inspired poet.

It is a journey of intense self-discovery and self-examination that requires Milton to cast off "all that is not inspiration. This sudden moment of inspiration extends to the very end of book one. Like Saul on the road to Damascus, the character Blake is not fully aware of the importance of this moment of illumination. Like Milton, Blake is in the process of becoming a poet.

In a moment of sudden inspiration, Blake overcomes his "earthly lineaments" and binds "this Vegetable World" as a sandal under his foot so that he can "walk forward thro' Eternity. Blake's act of faith in the world of the imagination enables him to increase his powers of perception and sets a pattern for the reader to follow.

Blake's union with Los marks the end of one stage of the unification process that began at the completion of the Bard's Song. In each case faith in the power of the imagination precedes union. The Bard, Milton, Los, and Blake begin to merge into a powerful bardic union. Yet it is but one stage in a greater drive toward the unification of all men in a "Universal Brotherhood. Blake continues the process begun in book one of taking the reader through different stages in the growth of a poet.

Ololon, Milton's female form, descends to earth to unite with Milton. Her descent gives the reader a radically new view of this world.

Ololon's unique perspective turns the reader's world of time and space upside down to make him see the decayed and limited nature of this world. If he can learn to see his familiar world from a new perspective, then the reader can develop his own powers of perception. Indeed "learning to see" is the first requirement of the poet. The turning of the outside world upside down is a preliminary stage in an extensive examination of man's internal world.

A searching inquiry into the self is a necessary stage in the development of the poet. Milton is told he must first look within: Central to the process of judging the self is a confrontation with that destructive part of man's identity Blake calls the Selfhood. The Selfhood continually hinders man's spiritual development. Only by annihilating the Selfhood, Blake believes, can one hope to participate in the visionary experience of the poem.

Unless the Selfhood is annihilated, one cannot become a true poet, for the Selfhood continually blocks "the human center of creativity. In its fallen state love is reduced to a form of trade: It is bartering in human emotions and is not love at all. When Milton denounces his own Selfhood, he gives up "Female love" and loves freely and openly. As Blake attacks accepted notions of love, he also forces the reader to question the value society places on reason.

Nothing new can be created by the mental processes involved in memory and reason. In his struggle with Urizen, who represents man's limited power of reason, Milton seeks to cast off the deadening effect of the reasoning power and free the mind for the power of the imagination. Milton gains control of Urizen, and it is clear that in Milton's mind it is now the imagination that directs reason. Destroying the Selfhood allows Milton to unite with others. He descends upon Blake's path and continues the process of uniting with Blake that had begun in book one.

This union is also a reflection of Blake's encounter with Los that is described in book one and illustrated in book two. As was the case with seeing Los, Blake is startled by Milton's arrival. Los appears as a "terrible flaming Sun," and Milton's arrival turns Blake's path into a "solid fire, as bright as the Clear Sun. All of this comes about through the individual annihilation of the Selfhood.

To become a poet and prophet, the man of imagination must first look within and destroy the Selfhood. Milton's final speech in praise of the virtue of self-annihilation is followed by Ololon's own annihilation of the Selfhood. She rejects her virgin Selfhood and joins with Milton:. Jesus is "One Man," for he unites all men in a Universal Brotherhood.

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William Blake - Poet - William Blake was born in London on November 28, , to James, a hosier, and Catherine Blake. Two of his six siblings died in infancy. From early childhood, Blake spoke of having visions—at four he saw God "put his head to the window"; around age nine, while walking through the countryside, he saw a tree filled with angels.

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Blake's works range from the deceptively simple and lyrical style of the Songs of Innocence and Experience, through speculative works such as The Marriage of Heaven and Hell,Blake's works range.

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Jul 28,  · I am doing a project on William Blake and for the life of me I cannot get a good sense of what type of writing style he uses. Iambic? I don't know Iambic pentameter? I really don't know. Whats the meter? I have noticed that he uses sets of Quatrains throughout most of his poetry though. But what else? I need more railblogau5.gq: Resolved. Watch video · Synopsis. Born in in London, England, William Blake began writing at an early age and claimed to have had his first vision, of a tree full of angels, at age Born: Nov 28,

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Grammarly's free writing app makes sure everything you type is easy to read, effective, and mistake-free. Many poems included in William Blake's Songs of Experience () express Blake's critical view of the Christian Church. Two poems in particular focus directly on the Christian Church. These. Who is William Blake? He's a Romantic poet, an illustrator and a mystic. He used words, drawings and an innovative relief etching style, called illuminated printing, to create some of the most.