Albion’s Enslavement: Green and Pleasant Lands vs Chartered Streets
In April 2022, Jez Butterworth’s terrific, William Blake-inspired drama Jerusalem returns to London for a special, limited 16-week run. I was lucky enough to see it last night at the press review – red carpet, flashing cameras, which was also kind of fun to see, and a sign of the eagerness with which the revival of this play – often said to be the “greatest British play of the 21st century” – has been greeted.
The Thinker and the Thought: “What you are, the world is. So your problem is the world’s problem”
Krishnamurti in 1910. The year before, theosophist Charles Webster Leadbeater, who claimed clairvoyance, had noticed Krishnamurti on the Society’s beach on the Adyar river and was amazed by the “most wonderful aura he had ever seen, without a particle of selfishness in it.” Leadbeater was convinced that the boy would become a spiritual teacher and a great orator; the likely “vehicle for the Lord Maitreya” in theosophical doctrine, an advanced spiritual entity periodically appearing on Earth as a World Teacher to guide the evolution of humankind. Krishnamurti later rejected this role, and indeed rejected the whole idea of following “roles”, after an intense spiritual experience in 1922.
Jiddu Krishnamurti was an Indian philosopher, speaker, and writer. In his early life, he was groomed to be the new ‘World Teacher’ (the Theosophical concept of Maitreya), but he later rejected this mantle and withdrew from the Theosophy organization behind it.
His interests included psychological revolution, the nature of mind, meditation, holistic inquiry, human relationships, and bringing about radical change in society. He stressed the need for a revolution in the psyche of every human being and emphasised that such revolution cannot be brought about by any external authority, be it religious, political, or social.
Krishnamurti was often seen as a spiritual master, although he interestingly mistrusted all religions and denounced the Eastern convention of deifying living spiritual masters. This gives some of his thinking an unusual and indeed at times devastating honesty. Perhaps nowhere is this more seen than in his critiques of the ego – the basis of both the modern personality and of most orthodox psychoanalytic thinking (the purpose of much Freudian and Jungian analysis is actually to strengthen the ego). The goal in Krishnamurti’s vision seems to be to go beyond both ‘self’ and beyond ‘mind’ (which, like Tolle, Krishnamurti equates with ego or what Blake calls “Selfhood”). “Judgement and comparison commit us irrevocably to duality”, he says – and we can never be happy therefore while we are in this state. And neither can those around us.
Totalitarianism and the Urizenic Mind
Milton wrote Paradise Lost just before the rise of the nation states, and Milton also had the intuition that there was something wrong with rationality, and he identified rationality with the mythology of Satan.
In the mythology of Satan, Satan was represented as the highest angel in God’s heavenly kingdom – so you can think about that as the highest psychological function, who had rebelled against God and then was cast into Hell.
His hypothesis was this: Evil was the force that believes that its knowledge of the world is complete. And that it can do without the transcendent. And as soon as it makes that claim, it instantly exists in a place that’s indistinguishable from hell. [“In Hell all is Self Righteousness” – Blake. As McGilchrist notes in his fascinating gloss on Blake, “He who sees the Infinite (looks outward to the ever-becoming with the right hemisphere) in all things sees God. He who sees the Ratio only [looks at the self-defined world brought into being by the left hemisphere] sees himself only (the left hemisphere is self-reflexive)”]. And it could get out merely by admitting its Error, and it will never do that.
Rod Tweedy explores the pathology of contemporary Disney
Frozen is now the second highest-grossing animated film of all time, and one of the highest-grossing films in any medium ($1.3 billion in worldwide box office sales). 676 million youngsters have viewed and sung along to the YouTube clip of it’s hit song Let It Go, and as Dorian Lynskey notes, “it’s shaped the imagination of a generation”. Beyond the sparkle and CGI patina something about the movie clearly resonates powerfully with children and young people, and I think it’s secret – and what lies at the heart of its appeal – is its potent exploration of themes of childhood anger, ‘ice-olation’, inner devitalisation and self-absorption, which the film both addresses and amplifies.
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