New York is essentially a spiritual city, one of the most occult and esoteric cities on Earth. As David Ovason has suggested in The Secret Architecture of our Nation’s Capital, New York – like Washington DC (the main focus of his study) – is laid out according to a whole matrix of secret symbolism and occult geometry.
Introduction: Future Tense
There have been men who loved the future like a mistress, and the future mixed her breath into their breath and shook her hair about them, and hid them from the understanding of their times. William Blake was one of these men, and if he spoke confusedly and obscurely it was because he spoke things for whose speaking he could find no models in the world about him.
He announced the religion of art, of which no man dreamed in the world about him; and he understood it more perfectly than the thousands of subtle spirits who have received its baptism in the world about us, because, in the beginning of important things – in the beginning of love, in the beginning of the day, in the beginning of any work, there is a moment when we understand more perfectly than we understand again until all is finished.
In his time educated people believed that they amused themselves with books of imagination but that they “made their souls” by listening to sermons and by doing or by not doing certain things. When they had to explain why serious people like themselves honoured the great poets greatly they were hard put to it for lack of good reasons.
In our time we are agreed that we “make our souls” out of some one of the great poets of ancient times, or out of Shelley or Wordsworth, or Goethe or Balzac, or Flaubert, or Count Tolstoy, in the books he wrote before he became a prophet and fell into a lesser order, or out of Mr. Whistler’s pictures, while we amuse ourselves, or, at best, make a poorer sort of soul, by listening to sermons or by doing or by not doing certain things.
Introduction: The Apocalypse of Reason
Blake worked on illustrations for an edition of Edward Young’s Night Thoughts between 1795 and 1797, though he engraved only forty three of the five hundred and thirty seven water-colour designs he made for the poem. The first part of Young’s illustrated text, containing forty three of Blake’s engravings, was published in 1797. The enterprise was a commercial failure and the subsequent ‘Nights’ were never published.
Introduction: Blake’s meteoric imagination
According to old Chinese belief, William Blake (1757– 1827) was cursed, since there is no question he lived in ‘interesting times’. Blake was a visionary English poet and artist. He was fascinated by apocalyptic biblical beliefs and prophecies, and worked elements of these even into artworks commissioned of him to illustrate the texts of other poets.
He studied widely in the literature and art of the past. His lifelong artistic heroes were Milton, Raphael and Michelangelo. As a result, his works are suffused with flowing forms and astronomical imagery, including meteors and comets.
Introduction: Ezekiel in Felpham
During the only period he lived away from London, Blake underwent what he describes in a letter-poem to his friend Thomas Butts as nothing less than a personal Last Judgment, a harrowing experience which involved a crisis of faith in himself and his friends, as well as an accusation by the spectres of “Poverty, Envy, old age & Fear.” These demons hounded him until he found the strength to resist and defeat them in what he calls a “fourfold vision”.
Censorship, Surveillance and the Power of the State: The Whore and the Beast
For many of us, 1798 was the year of the Lyrical Ballads. But it was also the year of Napoleon in Egypt, the uprising of the United Irishmen and its bloody aftermath, of Malthus’s first Essay on Population, and the year of “the most draconian, anti-radical crackdown of the entire Pittite ‘Terror’” (Ian McCalmon, New Jerusalems).
For William Blake, it was a seemingly unexceptional year, a year for which there are no known letters and no known published works other than some commerical engravings. But it was also the year in which he wrote on the verso of the title page of Bishop Richard Watson’s An Apology for the Bible: “To defend the Bible in this year 1798 would cost a man his life” and then “The Beast and the Whore rule without controls.” The Bishop’s Apology was an attack upon The Age of Reason by Thomas Paine, and Blake’s notes were a vehement counter-attack upon Bishop Watson. Why should Blake want to defend Thomas Paine, with whom he had some important points of disagreement, so unequivocally?
On June 4 1989 the Chinese government sent tanks and troops to open fire on thousands of students who were occupying Tiananmen Square in Beijing. Hundreds, maybe thousands were killed or injured. We do not know, because the government has never released the figures. We do know it responded to the student demand for greater democracy with tanks and live bullets.
The occupation of Tiananmen Square was the culmination of a democracy movement which had been gathering pace in China throughout the 1980s and which came to ahead in the spring of 1989.
In the 30 years since, the government of the People’s Republic of China has sought to erase this event from their history. Across the world efforts are made to ensure it does not succeed.
This article examines the concept of Mystical Union, one of the major themes of Islamic and Christian mystical poetry through juxtaposing the views of Jalal-ud-din Rumi and William Blake on it (Mystical Union).
The work is primarily focused on confirming the philosophical assertion that, “at the highest level of spiritual elevation (state of mystical union), dogmatic differences either cease to exist or become insignificant.” As a central theme of Islamic and Christian mystical poetry, the study of Mystical Union may help to understand both types of mysticism. The analysis of this theme may also encompass the interpretation of most of the constituting elements of mysticism (the stages of mystical path in Islamic and Christian mysticism).
The affinities between the views of Rumi and Blake on mystical union show that there has been an overwhelming agreement between Islamic and Christian mysticism, and that “at the highest level of spiritual elevation (state of mystical union), the differences based on dogmatism cease to exist or become insignificant”. The validity of this assertion has been confirmed through comparative study of Rumi and Blake on Mystical Union.
The geography of William Blake’s illuminated epic poem Jerusalem is organized around four principal cities: London, Babylon, Golgonooza, and Jerusalem. Three of the four are familiar enough, but the arcane city of Golgonooza is likely to seem, to an unsuspecting reader, as unapproachable as some legendary Forbidden City.
This essay argues that Blake’s illuminated poem, Milton a Poem in 2 Books (1804-1811), exhibits characteristics of the hallucinations also encountered in the archaeology of rock paintings made during shamanic trances in the prehistoric period. The essay will particularly focus on the trance-like episode referred to at the end of Milton and will link it to similar shamanic trances known to have occurred to southern African /Xam (San) bushmen in their practices of rock painting.