The Nature of Perception and the Limitations of Your Reason
Is reason the root of all evil? That’s the core theme romantic era poet and artist, William Blake, tackles in his alternative-to-Genesis creation story, The Book of Urizen.
“a spiritual vision whose intensity is at the least a mystic’s, if not a prophet’s”
William Blake is justifiably considered to be among the greatest of England’s poets and artists. His place in the books of art history is assured despite his general disengagement from any definable movement, except perhaps romanticism, to which he belonged in spirit more than in form. Blake was professionally an engraver and acquired little acclaim for his work in his lifetime. To a degree this was due to Blake’s strange beliefs and obsessions – he at times claimed to see the dead, communicate with Biblical prophets and experience ecstatic visions. The Book of Urizen, Blake’s masterpiece – an epic poem originally created in seven copies using copperplate engravings, is of particular interest since it displays a unique artistic style, complex poetic form and most interestingly a spiritual vision whose intensity is at the least a mystic’s, if not a prophet’s.
The Genitals as Private Property: Sexual Possessiveness and the roots of Jealousy, Monogamy and Patriarchy
“Albion here is at the stage where patriarchy institutionalizes and encourages the worship of the mother-goddess; Babylon was such a civilization”
Jerusalem and the Origins of Patriarchy
“O Albion why wilt thou Create a Female Will?” Los wails in Jerusalem (30:31). The term “Female Will” here makes its first appearance in Blake’s poetry, though for years critics have used it retroactively to explicate prior works, because it ties together so many of the sinister actions of the women characters of the earlier poetry.
The Philosopher’s Stone, the Spiritualisation of Matter and the Numerology of God
The word “deluge” hails from the Latin “diluvium,” meaning to wash away or dissolve. The Deluge, as a world-shaping event, is recorded in the collective mythologies of nearly every ancient culture from Pre-Inca Tiahuanacu, the story of Vishnu and Manu in the Hindu tradition, and the Turtle Island myth of the Anishinaabe to our most antiquated accounts in “The Epic of Gilgamesh” and “The Book of Genesis.”
“the story of Vishnu and Manu in the Hindu tradition”. Manu is a term found with various meanings in Hinduism. In early texts, it refers to the archetypal man, or to the first man (progenitor of humanity). The Sanskrit term for ‘human’, mānava, means ‘of Manu’ or ‘children of Manu’. In Vishnu Purana, Vaivasvata was the king of Dravida before the great flood. He was warned of the flood by the Matsya (fish) avatar of Vishnu, and built a boat that carried the Vedas, Manu’s family and the seven sages to safety, helped by Matsya. The myth is repeated with variations in other texts, including the Mahabharata and a few other Puranas. It is similar to other flood myths such as that of Gilgamesh and Noah.
The common narrative that binds them is the meeting of a man (often a demi-god) with a greater divinity. The divine being warns the man of the coming flood and gives him instructions to build a ship, in which he is taken away to a Holy Mountain where he waits until the Earth is restored or cleansed by the waters. One of the most interesting details of Deluge mythology is the adaptation of the myth to best suit the cosmological understanding of the culture meant to receive it. Both the ancient Sumerian and primitive Hebrew cultures relied heavily upon the symbolic use of numbers to transmit ideas.
Through examination of numerical variations in “The Epic of Gilgamesh” in relation to “The Book of Genesis,” one will discover that although the details of Deluge mythology are as divergent as human culture, this is not a result of the mistranslation of an ancient historical account, but an adaptation of symbols to conjure the same meaning; thus transcending both cultural and religious differences, in order to communicate “the secret of the gods.”