Possessing and Perceiving: William Blake and the Art of Perception
Introduction: In the Beginning was the Image
“Seeing comes before words.” We are rooted in imagination.
Seeing comes before words. The child looks and recognizes before it can speak.
But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it.
The relation between what we see and what we know is never settled. Each evening we see the sun set. We know that the earth is turning away from it. Yet the knowledge, the explanation, never quite fits the sight.
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.’
Consciousness and Revolution
The previous post reprinted Blake’s Europe a prophecy, written shortly after the French Revolution and depicting the political and psychological womb out of which it emerged. His illustrations and text are dense, poetic, and richly ambiguous. Here I unpack some of the main themes of the poem, which revolve around Blake’s critique of materialism, and explore the psychological subtext of the poem. As Paley notes, the function of the prophetic form for Blake was “to expose the otherwise hidden motives and consequences of human decisions”. Blake’s concept of ‘prophecy’ is therefore a form of political psychoanalysis, a powerful new way of going under the skin of contemporary events and accessing the deep psychological and sexual dynamics that lie behind both religious and political structures. This superimposition of different fields of reference (simultaneously political, sexual, religious, psychological) is one of the things that makes Blake’s works so striking and distinct, as well as so dense and multivalent. It is also a feature of his thinking that he has in common with modern psychoanalytic approaches. As Adam Phillips notes:
You can only understand anything that matters — dreams, neurotic symptoms, literature — by overinterpreting it; by seeing it from different aspects as the product of multiple impulses. Authority wants to replace the world with itself. Overinterpretation means not being stopped in your tracks by what you are most persuaded by; it means assuming that to believe one interpretation is to radically misunderstand the object one is interpreting, and indeed interpretation itself.
Blake located the source of contemporary struggle in a specific complex of psycho-social structures and dynamics, which we still see being played out and repeated in contemporary European politics. Until we learn to understand and recognise these processes, Blake believed, we will be doomed to repeat the same underlying cycle again and again: a world where revolution becomes simply endless re-cycling.