The Way to Truth: The Lamb or the Tyger?
The Ancient of Days over Bikini Atoll, where America exploded a massive hydrogen bomb in 1954. It was a thousand times more powerful than the atomic bomb dropped on Hiroshima. On witnessing the first detonation of a nuclear weapon on July 16, 1945, a piece of Hindu scripture ran through the mind of scientist Robert Oppenheimer: “Now I am become Death, the destroyer of worlds”
Introduction: Blake and Bertrand Russell
Entrance to the rooms Russell occupied as a Fellow of Trinity College, Cambridge University, where he first heard the sound of Blake’s Tyger.
In the first volume of his autobiography, Nobel Prize laureate Bertrand Russell recalled being stopped dead in his tracks while trying to descend a staircase in Trinity College Cambridge by his friend Crompton reciting Blake’s poem The Tyger. He wrote:
One of my earliest memories of Crompton is of meeting him in the darkest part of a winding College staircase and his suddenly quoting, without any previous word, the whole of “Tyger, Tyger, burning bright.” I had never, till that moment, heard of Blake, and the poem affected me so much that I came dizzy and had to lean against the wall.
The encounter with Blake’s Tyger seems to have made a lasting impression on the mathematician and philosopher. Russell returned to him again in his 1918 essay Mysticism and Logic, where he suggested that the search for truth could be reached both through hard science and pure speculation. In the essay Russell contrasts two “great men,” Enlightenment philosopher David Hume, whose “scientific impulse reigns quite unchecked,” and poet William Blake, in whom “a strong hostility to science co-exists with profound mystic insight.” It’s interesting that Russell chooses Blake for an example.
Howl: The War of this World against Vision and Imagination
Introduction: Blake & the Beats
Allen Ginsberg (1926–1997) in front of the opening lines of Howl, referencing Blake in its opening section
William Blake’s influence on the Beat Generation is arguably more significant than that of any other writer or artist. Most notably he was Ginsberg’s “guru” and the “catalyst” for his poetry, and even warranted a mention in “Howl”. Blake supposedly appeared to Ginsberg in 1945 and read “Ah Sun-flower”, and again in 1948 when Ginsberg was reading “The Sick Rose”. He explained,
I was never able to figure out whether I was having a religious vision, a hallucinatory experience, or what, but it was the deepest ‘spiritual’ experience I had in my life, and determined my karma as poet. That’s the-key pivotal turnabout of my own existence. That’s why I was hung up on setting Blake to music.
Visions were important to Blake, who claimed that his poetry was not necessarily a work that he created, but something channeled through him. He referred to himself as a “true Orator” and claimed that poetry came from a voice that he simply wrote down.
How the Sleep of Imagination produces Nature
Introduction: The Apocalypse of Reason
Edward Young (1683–1765)
Blake worked on illustrations for an edition of Edward Young’s Night Thoughts between 1795 and 1797, though he engraved only forty three of the five hundred and thirty seven water-colour designs he made for the poem. The first part of Young’s illustrated text, containing forty three of Blake’s engravings, was published in 1797. The enterprise was a commercial failure and the subsequent ‘Nights’ were never published.
The alignment of meteoric imagery and political and spiritual events in Blake’s work
Introduction: Blake’s meteoric imagination
According to old Chinese belief, William Blake (1757– 1827) was cursed, since there is no question he lived in ‘interesting times’. Blake was a visionary English poet and artist. He was fascinated by apocalyptic biblical beliefs and prophecies, and worked elements of these even into artworks commissioned of him to illustrate the texts of other poets.
Raphael, ‘Astronomy’, from the Stanza della Segnatura (1509)
He studied widely in the literature and art of the past. His lifelong artistic heroes were Milton, Raphael and Michelangelo. As a result, his works are suffused with flowing forms and astronomical imagery, including meteors and comets.