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New Literary Humanism and the Trope of the Daimon in William Blake's Jerusalem T

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New Literary Humanism and the Trope of the Daimon in William Blake's Jerusalem T “EVERY THING IS HUMAN, MIGHTY! SUBLIME!”: NEW LITERARY HUMANISM AND THE TROPE OF THE DAIMON IN WILLIAM BLAKE’S JERUSALEM TODD DEARING, BA(Hons I) Presented to the College of Humanities, Arts and Social Sciences of Flinders University for the degree of DOCTOR OF PHILOSOPHY FLINDERS UNIVERSITY OF SOUTH AUSTRALIA 6 July 2020 Declaration I, Todd Dearing, certify that this thesis: 1. Does not incorporate without acknowledgment any material previously submitted for a degree or diploma in any university; and 2. To the best of my knowledge and belief, does not contain any material previously published or written by another person except where due reference is made in the text. ______TWD_______ __29 January 2020__ (signed) (date) To all for whom learning is a life-long quest. Abstract William Blake’s (1757-1827) poetic statement, “every thing is Human, mighty! sublime!” suggests an extraordinarily strange idea of the human (J34:48, E180). Yet it is upon such daimonic conceptions that Blake’s sublime allegory of poetic genius, Jerusalem: The Emanation of the Giant Albion (1804-c. 1820), rests. This thesis examines the trope of the daimon in Blake’s Jerusalem. I argue that the human, and humanity, in Blake’s mythos are ontologically daimonic, a dynamic mediator between polarities such as divine and mundane, infinite and finite, eternal and temporal, spirit and matter, subject and object, conscious and unconscious. However, in doing so, I do not read Blake’s daimon literally, but literarily and humanistically. Literarily, I read Blake’s daimon as a key trope for understanding Jerusalem as humanistic mythopoetry wherein literary language plays an important, transformative role. Humanistically, the daimon in Jerusalem serves as a metaphorical focus for questions of human nature, understanding, and potential. Combining these two aspects, I read Jerusalem as an allegory of Blake’s humanism. The methodology of this thesis is informed and inspired by the recently re-invigorated theories, critical practice, and defences of literary humanism produced by Andy Mousley and Bernard Harrison. In applying such an approach, this thesis both draws from and contributes to the current shift towards new, twenty-first-century humanist approaches to literature. Following a historical contextualisation of the daimon, I examine the daimon in Blake’s Jerusalem from four distinct angles: poetic/aesthetic, psychological/individual, mythological/collective, and artistic/philosophical. From this study of Jerusalem, I synthesise Blake’s allegorical ideas of literary humanism. A consonance between Blake and recent scholarship on literary humanism is then established and critiqued. My original contribution to knowledge is to show that Blake prefigures, in his own way, ideas of new literary humanism. These ideas are then shown to be significant for literary studies within a twenty-first-century global context. Key words: William Blake, literary humanism, daimon, Jerusalem, literature, human. Table of Contents Acknowledgements ............................................................................................................... i Abbreviations and General Notes ...................................................................................... iv List of Illustrations ........................................................................................................... viii PART I 1. Introduction ..................................................................................................................... 2 1.1 BLAKE’S EXTRAORDINARY CLAIM ................................................................................ 2 1.2 CHAPTER OVERVIEW .................................................................................................. 13 2. Methodological Approach ............................................................................................. 18 2.1 THE DAIMON .............................................................................................................. 18 2.2 LITERARY HUMANISM ................................................................................................ 31 3. Ascertaining Blake’s Daimon........................................................................................ 54 3.1 A GENEALOGY OF THE DAIMON .................................................................................. 54 3.2 WILLIAM BLAKE’S DAIMON ....................................................................................... 72 PART II 4. The Dimensions of Blake’s Daimon .............................................................................. 93 4.1 JERUSALEM’S DAIMONIC COSMOLOGY......................................................................... 93 4.2 THE POETICS OF THE DAIMON ................................................................................... 116 4.3 THE AESTHETICS OF THE DAIMON ............................................................................. 125 5. The Daimon and the Individual .................................................................................. 139 5.1 THE ARTIST AND THE SPECTRE ................................................................................. 139 5.2 AWAKENING AND DISMAY ........................................................................................ 154 5.3 GENIUS, MADNESS, AND CULTURAL RENEWAL ......................................................... 172 6. The Transmutation of Human Darkness .................................................................... 180 6.1 READING BLAKE COGNITIVELY ................................................................................ 180 6.2 BLAKE’S MYTHOPOETRY AND THE DAIMON OF LITERARY TRANSFORMATION ............ 187 6.3 JERUSALEM’S DARK POETRY ..................................................................................... 198 6.4 REINTEGRATING OUR HUMAN MONSTROSITIES ......................................................... 217 7. Awakening Humanistically ......................................................................................... 221 7.1 CHRIST THE ARTIST .................................................................................................. 221 7.2 THE DAIMONIC ARTIST IN JERUSALEM ....................................................................... 234 7.3 LITERATURE AND HUMANISTIC AWAKENING ............................................................. 261 PART III 8. Articulating Literary Humanism................................................................................ 267 8.1 JERUSALEM AS AN ALLEGORY OF LITERARY HUMANISM ............................................ 267 8.2 BLAKE’S CONSONANCE WITH NEW LITERARY HUMANISM ......................................... 280 8.3 THE IMPLICATIONS OF READING BLAKE THIS WAY .................................................... 300 9. Conclusion ................................................................................................................... 308 9.1 THE SIGNIFICANCE OF THIS RESEARCH ...................................................................... 308 9.2 EPILOGUE: HUMANITY WITHIN THE FOURTH INDUSTRIAL REVOLUTION...................... 324 Works Cited .................................................................................................................... 328 PRIMARY WORKS ........................................................................................................... 328 SECONDARY WORKS ...................................................................................................... 332 Dearing i Acknowledgements Commonly, acknowledgements are reluctantly truncated lists. This one is no exception. As solitary as the PhD journey is, it is simultaneously set within an indispensable community, one which I will do my best to acknowledge. Foremost, I would like to thank my supervisors, Dr Eric Parisot and Professor Robert Phiddian. Their superb guidance, adamantine critique, and collegial encouragement has been a blessing throughout the three years needed to complete this doctoral research. The shortcomings found in this thesis reflect not their guidance but my own stubborn persistence to write Blake the way I have come to understand him. I would also like to thank the academic staff, administrative staff, and my postgraduate colleagues in the College of Humanities, Arts and Social Sciences at Flinders University. Other people at Flinders deserve a thank you, including the library staff, and especially the Office of Graduate Research for their contribution to a smooth academic environment and warm community. Furthermore, I thank my loving fiancée (soon to be wife) for her unwavering support and encouragement, as well as my family and friends for their continual support. Beyond these acknowledgements, there are several specific individuals that deserve my gratitude: Professor Peter Otto for some initial pointers on how to approach Blake prior to my doctoral enrolment; Emeritus Professor Andy Mousley for our conversations about literary humanism; Professor Will Christie for discussion on Blake and the Romantics; Professor Michael Tsianikas for sharing his insightful purview of Greek thought, language, and its associated history; Associate Professor Craig Taylor for reading some of my work and recommending further leads to pursue; Professor Tara Brabazon, Dean of Graduate Research Dearing ii at Flinders, for steering the Higher Degree by Research ship so brilliantly for us all through all manner of seas; Dr Christine Winter for her encouragement, which came at the
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