Revelation as Revolution
Introduction: Politics and Vision
In the book by EO Abbott called Flatland: a Romance of Many Dimensions, ‘A Square’ tries to persuade his fellow two-dimensional beings – triangles, hexagons, and so on – that other dimensions are possible. William Blake lived in a four-dimensional moral world, and for that reason he was considered quite mad by ordinary citizens. He did not agree with them and is reported to have told a friend: ‘There are probably men shut up as mad in bedlam who are not so; that possibly the madmen outside have shut up the sane people.’
Where any view of Money exists, Art cannot be carried on, but War only
Blake’s extraordinary piece of graffiti art, 200 years before Jean-Michel Basquiat or Banksy. The words themselves seem part of the serpentine struggle, as if logos itself was implicated in the fall into division
Blake, Boehme, and Left Brain Verstand
Boehme’s influence on Blake, although often acknowledged, is frequently underestimated and has never been comprehensively investigated. Much modern criticism regards Blake’s work as non-transcendental, even secular. This is partly a reaction against earlier criticism, which was more sympathetic to Blake’s connection with the mystical tradition. The argument of this article, however, is that Boehme exerted a continuous and pervasive influence on Blake, and that recognition of this can illumine some of the most difficult and contradictory elements in Blake’s work. These include the attitude to the body and the senses, and the metaphysical status of the selfhood and the created world.
Boehme’s system represents a synthesis of many different currents of thought, including the Dionysian via negativa, the Hermetic tradition, the Kabbalah and the Lutheran faith. It is emphasized, however, that his philosophy arose from intense mystical experience rather than academic study, and that he chose to express it in symbolic and mythological terms rather than rational concepts.