Blake in New York: Power, Symbolism, and Luciferianism, by Vigilant Citizen

Symbols Rule the World, not Words or Laws

‘Wisdom’, Entrance to the Rockefeller Center, New York. Sculpture created by Lee Lawrie, after William Blake

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.

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William Blake and the Sexual Basis of Spiritual Vision, by Marsha Keith Schuchard

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

William Blake and the Radical Swedenborgians, by Robert Rix

Freemasonry, Illuminism, and the New Jerusalem

swedenborg-hypnosis

If the philosophy of Immanuel Kant is now studied worldwide, the current climate of philosophical investigation ignores the mystical thinker Emanuel Swedenborg – at best relegating him to footnote status. But towards the end of the eighteenth century, the interest in Swedenborg among intellectuals was immense; his writings “made a lot of noise in the speculative world,” as the leading journal on esoteric matters, The Conjuror’s Magazine, commented in 1791. Kant even felt compelled to respond to Swedenborg in Dreams of a Spirit-Seer (1766). Swedenborg’s teaching became the main substance of the occult revival in the late eighteenth century, and his ideas have had a lasting appeal as a source of inspiration to many intellectuals who were not converts, such as Lavater, Goethe, Coleridge, Emerson, Balzac, Baudelaire, Whitman, Melville, Henry James, and, not least, the poet and painter William Blake, on whom the essay at hand will focus. 

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