Revolutions in Being: The Meaning of the Nativity in Blake’s Vision
It is strange how the worship of the Christ-child penetrated the hard old Roman-built world. It was like the perfume of a lily, of a mass of lilies, whose roots have broken rocky soil, whose shining whiteness enchants the air. An infant conquered the nations; the human race lifted up its eyes and sang a new song.
“Slowly the perfume, the song reacted in beauty in men’s minds, and the beauty took to itself form and colour and rhythm, became incarnate in churches and statues, gorgeous in tapestries and paintings, vocal in poetry and music.” (Image: detail from Fra Angelico’s Annunciation of Cortona,1433–1434).
Slowly, through those centuries of a crumbling empire and a resilient faith, the perfume, the song reacted in beauty in men’s minds, and the beauty took to itself form and colour and rhythm, became incarnate in churches and statues, gorgeous in tapestries and paintings, vocal in poetry and music. The human spirit passed from Caesar to Saint Francis, from the Colosseum to Chartres Cathedral, from pagan frescoes to Fra Angelico, from Greek choruses to Palestrina, from Virgil and the cynical later poets of a disillusioned autocracy to Dante and the epics and lyrics of new languages seeded and nourished by the old.
Milton’s Dark Materials: the Dissociations of the Human Brain
One of the aims of Blake’s work is to encourage integration of the various disconnected aspects of the human brain and body. Under Urizenic (left brain dominant) systems, these often become split off and psychotic – a form of dissociative identity disorder, presented in the Bible, Dante, and Milton as separate-headed ‘demons’ – the compulsive and obsessive nature of processes that are not properly integrated. The cause of this is usually a form of hyper-rationalisation, which McGilchrist and Louis Sass associate both with schizo-phrenia and modern forms of madness.