How to Enter the Kingdom of Heaven: William Blake and the Erotic Imagination
When I first Married you, I gave you all my whole Soul
I thought that you would love my loves & joy in my delights
Seeking for pleasures in my pleasures, O Daughter of Babylon
Then thou wast lovely, mild & gentle, now thou art terrible
In jealousy & unlovely in my sight, because thou hast cruelly
Cut off my loves in fury till I have no love left for thee.
Thy love depends on him thou lovest & on his dear loves
Depend thy pleasures which thou hast cut off by jealousy.
— Milton (1804-10), plate 33
In 1863 Alexander Gilchrist corrected the claim made by J.T. Smith, a friend of Blake, that the artist and “his beloved Kate” lived in “uninterrupted harmony”. Such harmony there really was; but it had not always been unruffled. There had been stormy times in years long past, when both were young; discord by no means trifling while it lasted. But with the cause (jealousy on her side, not wholly unprovoked), the strife had ceased also. Read More
Mystical Islam: Integrating the Left and the Right
The original post exploring the ’40 Rules of Love’ by the great Persian mystic and Sufi, Shams Tabrizi, has been the most viewed of all the posts on The Human Divine. The earlier blog, which is available here, only covers the first ten of the ‘rules’ though, so here’s the next ten of his observations, a continuation and elaboration of his teachings.
How the Sleep of Imagination Produces Dissociation
Any attempt to explain Blake’s symbolism will involve explaining his conception of symbolism. To make this clear we need Blake’s own definition of poetry:
Allegory addressed to the Intellectual powers, while it is altogether hidden from the Corporeal Understanding, is My Definition of the Most Sublime Poetry; it is also somewhat in the same manner defined by Plato.
The “corporeal understanding”, according to Blake, cannot do more than elucidate the genuine obscurities, the things requiring special knowledge to understand (such as the contemporary allusions in Dante), or the literal mechanics of a poem (meter, structure, general themes etc). The “intellectual powers” go to work rather differently: they start with the hypothesis that the poem in front of them is an imaginative whole, a unique and irreplaceable event, and work out the implications of that hypothesis. The way that poetry is generally taught in schools therefore, by converting it into “corporeal understanding” – into a form of machinery – completely misses its whole point, like explaining a joke or analysing a dead body to find out what makes it tick.
‘Excrement’: John Keating’s apt description of the corporeal understanding’s approach to poetry