But He Talked of the Temple of Man's Body

Total Page:16

File Type:pdf, Size:1020Kb

But He Talked of the Temple of Man's Body BUT HE TALKED OF THE TEMPLE OF MAN’S BODY BUT HE TALKED OF THE TEMPLE OF MAN’S BODY BLAKE’S REVELATION UN-LOCKED BY ELIZA BORKOWSKA But He Talked of the Temple of Man’s Body: Blake’s Revelation Unlocked, by Eliza Borkowska This book first published 2009 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2009 by Eliza Borkowska All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-0329-4, ISBN (13): 978-1-4438-0329-8 Jesus … said onto them, Destroy this temple, and in three days I will raise it up. Then said the Jews, Forty and six years was this temple in building, and wilt thou rear it up in three days? But he spake of the temple of his body. (John, 2:19-21) TABLE OF CONTENTS ACKNOWLEDGEMENTS----------------------------------------------------------- IX LIST OF ABBREVIATIONS--------------------------------------------------------- XI INTRODUCTION--------------------------------------------------------------------- 1 PART I: THE TEMPLE OF RATIONALISM CHAPTER ONE: LOCKE’S SCIENCE AND ITS LANGUAGE ---------------------15 1. Locke’s Science and the Senses--------------------------------------15 2. The Sense-Word Knot-------------------------------------------------20 3. Defining the Sense of the Word--------------------------------------33 CHAPTER TWO: LOCKE’S RELIGION/MORALITY AND ITS LANGUAGE------50 1. Religion -----------------------------------------------------------------51 2. Morality -----------------------------------------------------------------58 PART II: DESTROYING THE TEMPLE - RENDING THE VEIL CHAPTER THREE: BLAKE’S REJOINDER TO LOCKE’S SCIENCE AND ITS LANGUAGE ------------------------------------------------------------------------71 1. Blake on the Senses----------------------------------------------------71 2. The Sense-Word Knot and the World-Temple ---------------------77 3. Re-definition: Crushing the Word-Bricks---------------------------80 CHAPTER FOUR: BLAKE’S REJOINDER TO LOCKE’S RELIGION/MORALITY AND ITS LANGUAGE ------------------------------------------------------------ 108 1. Rending the Veil of Religion --------------------------------------- 109 2. Rending the Veil of Morality --------------------------------------- 131 viii Table of Contents CHAPTER FIVE: “SATAN”: BLAKE ON LOCKE’S THREE BRANCHES OF SCIENCE-------------------------------------------------------------------------- 163 1. Morality --------------------------------------------------------------- 165 2. Science ---------------------------------------------------------------- 168 3. Language-------------------------------------------------------------- 173 PART III: REBUILDING THE TEMPLE CHAPTER SIX: BEYOND LOCKE ----------------------------------------------- 181 1. Golgonooza: the Poet’s World-------------------------------------- 181 2. Albion: the Poet’s Man---------------------------------------------- 192 3. “Jerusalem”: the Spiritual Flight----------------------------------- 204 4. “Jerusalem”: the Revelation of the Temple/temple-------------- 219 EPILOGUE: JERUSALEM: THE POET’S WORK --------------------------------- 235 NOTES---------------------------------------------------------------------------- 241 BIBLIOGRAPHY------------------------------------------------------------------ 268 INDEX ---------------------------------------------------------------------------- 280 ACKNOWLEDGEMENTS I want to thank Professors Grażyna Bystydzieńska, Małgorzata Grzegorzewska, Tadeusz Sławek and Jerzy Wełna for their opinions and advice at various stages of my work on this text, and Professor Aniela Korzeniowska for language consultation. I also thank my husband, Piotr. I am grateful for your advice and opinion, patience and support. You know and I know that, though I wrote this book, in many senses we made it together. LIST OF ABBREVIATIONS William Blake BA, followed by Plate and line number: The Book of Ahania BL, followed by Plate and line number: The Book of Los BU, followed by Plate and line number: The [First] Book of Urizen E, followed by page number: Erdman’s edition of The Complete Poetry & Prose of William Blake (1988) EG, followed by page number in Erdman’s edition: The Everlasting Gospel FZ, followed by Page and line number: The Four Zoas GP, followed by page number in Erdman’s edition: For the Sexes: The Gates of Paradise Jer., followed by Plate and line number: Jerusalem MHH, followed by page number in Erdman’s edition: The Marriage of Heaven and Hell Mil., followed by Plate and line number: Milton NNR, followed by page number in Erdman’s edition: There is No Natural Religion Songs, followed by page number in Erdman’s edition: Songs of Innocence and of Experience VDA, followed by Plate and line number: Visions of the Daughters of Albion VLJ, followed by page number in Erdman’s edition: A Vision of the Last Judgement John Locke Essay, followed by book, chapter, section number: An Essay Concerning Human Understanding Essays, followed by page number: Essays on the Law of Nature “Of Ethics”, followed by page number: “Of Ethics in General” Reasonableness, followed by section number: The Reasonableness of Christianity Some Thoughts, followed by section number: Some Thoughts Concerning Education Two Tracts, followed by page number: Two Tracts on Government Two Treatises, followed by section number: Two Treatises of Government All the emphases in quotations from these and other publications of Locke are mine. Locke’s own italicisation is not retained for the reasons Yolton provides while apologising for the retention of Locke’s italicisation in his edition of the Essay, xiv. INTRODUCTION In his Essay Concerning Human Understanding, John Locke repetitively emphasises that the most vital function of language is to let man communicate his thoughts to other men.1 This, he says, is “the end of speech in general” (Essay, 2.18.7). But at the same time he is forced to admit that, if truth be told, language is quite an imperfect tool to serve this end. To take one example he provides in Book Three Of Words: words are “doubtful and uncertain” (3.9.1). Since there is no natural connection between the sound and the idea it refers to – as words, in Locke’s famous phrase, “stand for nothing but the ideas in the mind of him that uses them” (3.2.2) – the same word may signify different ideas for different users. As words for complex ideas may combine a great number of simple ideas, it is impossible that in every man’s mind the ingredient ideas will be perfectly the same and of the same number. The result is that, in fact, these words “have seldom in two different men the same precise signification, since one man’s complex idea seldom agrees with another’s, and often differs from his own, from that which he had yesterday or will have tomorrow” (3.9.6). These imperfections generate corresponding abuses. For example the type of imperfection we have just looked at is responsible for the abuse Locke calls “the first secret reference”, whereby users “suppose their words to be marks of the ideas in the minds also of other men, with whom they communicate” (3.2.4; see also 3.3.3). As Moore explains it, “Locke means we not only act as if our words were marks of ideas in the minds of others, but also as if they were marking the same ideas in their minds as they mark in ours” (Moore 1994, 14). Thus, the context Locke draws in his Essay around the subject of language, speaker and communication is that speech is a necessary tool for humans to communicate, but it is imperfect, and men tend to abuse this tool. Locke himself discerns the vicious knot all this ties itself up in, and it is precisely his concern to disentangle it that suggests to him a need for a linguistic reform that will sort things out and set them in order. He puts it forward in the last Chapter of the Essay’s Book Of Words, and calls it proudly: “Of the Remedies of the Foregoing Imperfections and Abuses”. But though the title implies that the “remedies” will concern both “the imperfections” and “the abuses”, the moment one starts studying the details it turns out that the reform is not so much concerned with the 2 Introduction “noise and jamming” of the channel but with man’s “negligence and fraud”. Locke’s language reform ultimately turns out to be solely the programme of a reform of language users. It is they that must be mended and taught the terms of the propriety of speech. Among different precepts, there are four especially crucial commandments they must keep to: I. Do not use any word without a distinct, determinate idea annexed to it. (3.11.8-9) II. Apply words to “such ideas as common use has annexed them to”. (3.11.11) III. “Declare” the meaning in which you use them. (3.11.12) IV. Use the same word “constantly in the same sense”. (3.11.26) It must be admitted that Locke turns principle into practice, since his Essay, both in form and content, is an embodiment of correctness – of intention, thought and expression. This is manifest in “the ‘precision’ of words and the ‘sensible’ rhythm of Locke’s prose” (Caffentzis 1989, 121), in phrases like “and therefore I think it is not an insignificant subtlety, if I say that we are carefully to distinguish between ...” (Essay, 2.17.7), where he aims at determinate
Recommended publications
  • Irish Gothic Fiction
    THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland.
    [Show full text]
  • Madonna Mary
    MADONNA MARY. liV MRS. OLIPHANT, AUTHOR OF "THE LIFE OF EDWARD IRVING,' "AGNES," Etc. IN THREE VOLUMES. vol. in. C/7, ,T--\3 LONDON : HUEST AND BLACKETT, PUBLISHERS, SUCCESSOES TO HENEY COLBUEN, 13, GEEAT MARLBOROUGH STREET. 1867. The right of Translation it reserved. JIJTO. -/ J2<?iTt LONDON : SAYILL AND EDWAKDS, PRINTERS, CHANDOS STBEBT, COYEST GARDEN. wmmm CHAPTER I. IILFRID was so stunned by the in formation thus suddenly given him, that lie had but a confused con sciousness of the explanations which followed. He was aware that it was all made clear to him, and that he uttered the usual words of assent and conviction ; but in his mind he was too profoundly moved, too completely shaken and unsettled, to be aware of anything but the fact thus strangely communicated. It did not occur to him for a moment that it was not a fact. He saw no improbability, nothing unnatural in it. He was too young to think that anything was unlikely because it was extraordinary, or to doubt what was affirmed with so much confidence. But, in the meantime, the news was so startling, that it upset his mental balance, and made him in capable of understanding the details. Hugh was not the eldest son. It was he who was the VOL. III. B 2 Madonna Mary. eldest son. This at the moment was all that his mind was capable of taking in. He stayed by Percival as long as he remained, and had the air of devouring everything the other said ; and he went with him to the railway station when he went away.
    [Show full text]
  • William Blake 1 William Blake
    William Blake 1 William Blake William Blake William Blake in a portrait by Thomas Phillips (1807) Born 28 November 1757 London, England Died 12 August 1827 (aged 69) London, England Occupation Poet, painter, printmaker Genres Visionary, poetry Literary Romanticism movement Notable work(s) Songs of Innocence and of Experience, The Marriage of Heaven and Hell, The Four Zoas, Jerusalem, Milton a Poem, And did those feet in ancient time Spouse(s) Catherine Blake (1782–1827) Signature William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language".[1] His visual artistry led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced".[2] In 2002, Blake was placed at number 38 in the BBC's poll of the 100 Greatest Britons.[3] Although he lived in London his entire life except for three years spent in Felpham[4] he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God",[5] or "Human existence itself".[6] Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings William Blake 2 and poetry have been characterised as part of the Romantic movement and "Pre-Romantic",[7] for its large appearance in the 18th century.
    [Show full text]
  • ENDER's GAME by Orson Scott Card Chapter 1 -- Third
    ENDER'S GAME by Orson Scott Card Chapter 1 -- Third "I've watched through his eyes, I've listened through his ears, and tell you he's the one. Or at least as close as we're going to get." "That's what you said about the brother." "The brother tested out impossible. For other reasons. Nothing to do with his ability." "Same with the sister. And there are doubts about him. He's too malleable. Too willing to submerge himself in someone else's will." "Not if the other person is his enemy." "So what do we do? Surround him with enemies all the time?" "If we have to." "I thought you said you liked this kid." "If the buggers get him, they'll make me look like his favorite uncle." "All right. We're saving the world, after all. Take him." *** The monitor lady smiled very nicely and tousled his hair and said, "Andrew, I suppose by now you're just absolutely sick of having that horrid monitor. Well, I have good news for you. That monitor is going to come out today. We're going to just take it right out, and it won't hurt a bit." Ender nodded. It was a lie, of course, that it wouldn't hurt a bit. But since adults always said it when it was going to hurt, he could count on that statement as an accurate prediction of the future. Sometimes lies were more dependable than the truth. "So if you'll just come over here, Andrew, just sit right up here on the examining table.
    [Show full text]
  • The Complete Stories
    The Complete Stories by Franz Kafka a.b.e-book v3.0 / Notes at the end Back Cover : "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. Page 1 The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York.
    [Show full text]
  • Talking Blind: Disability, Access, and the Discursive Turn
    Talking Blind: Disability, Access, and the Discursive Turn Amanda Cachia University of California, San Diego E­mail: [email protected] Keywords: blind artists, inclusive design, accessible exhibit design, the discursive turn, the Berkeley Art Museum, the Cantor Fitzgerald Gallery Abstract The author describes two exhibits: Blind at the Museum at the Berkeley Art Museum in 2005, and What Can a Body Do?, at the Cantor Fitzgerald Gallery at Haverford College in 2012. She argues for inclusive design in the exhibits themselves, as well as what she calls the exhibit's discursive elements—catalogues, docent tours, symposia, and websites—that not only extend the life of such exhibits but also expand access for attendees and others. Introduction "You're standing too close to that painting. You have to stand back to really see it," says a male museum visitor. 1 In her book Sight Unseen Georgina Kleege recounts the story of how a fellow visitor criticized her in this fashion for behaving "inappropriately" during the 1992 Matisse exhibition at New York's Museum of Modern Art. According to this visitor, in Kleege's words, "there is a right way and a wrong way to see" because "sight provides instantaneous access to reality." 2 Kleege didn't get the chance to tell the visitor that she has macular degeneration, and so needed to stand very close to the paintings in order to get even the most general sense of their overall composition. In many ways Kleege's experience remains emblematic of ongoing problems. The well­established discourse of museum accessibility often works against its own stated goals and I argue that this must be productively destabilized.
    [Show full text]
  • Madonna... Who Cares ?
    THE PROGRESSIVE WOMAN'S Q 1 ON THE Vol. XXVI SPRING 1993 $3.95 RUSSIAN OMEN: MADONNA... EX AFTER WHO CARES ? THE FALL BEYOND "CHOICE"- CONTROYERSIES IN WOMEN'S HEALTH ELAYNE RAPPING ON WOODY ALLEN; MIA FARROW " pt. Women rs History is Worth Saving Help Preserve Paulsdale In 1923, Alice Paul authored the Equal We know the importance of public Rights Amendment and crusaded for its pas- memoriakThey serve as symbols of our sage for the rest of her life. She also wrote the «>lle«ive past and inspirations for our equalrightsstatementsintheUnitedNations futurc- ^ there are few national monu- Charter Because of Alice Paul's work, the ments wluch KCO&™ the contributions of 1964CivilRightsActoutlawedsexdiscrimi- Amencan women. Although women sparked " B . the historic preservation movement in this nation m the workplace. m Qn[y A% of al, Natbnal Historic Today, the Alice Paul Centennial Foun- i^fa^ honor the accomplishments of dation, a volunteer, not-for-profit organiza- women> tion, is struggling to preserve Paulsdale, her Women pionecred major reforms in edu- birthplace and home. cation, health care, labor and many other Paulsdale, recently named a National His- areas of our society. Paulsdale will become a Alice Stokes Paul toric Landmark, is acirca 1840 farmhouse on national leadership center where new (1885 - 1977) 6.5 acres in Mount Laurel, New Jersey, near generations of women and girls will come Philadelphia. This is the place where Alice together to create solutions to the problems voices throughout the land, re- peating oaths of office for the Cabinet, the To honor the vision and courage of Alice Paul, the Foundation plans to create at seizing this opportunity to preserve Paulsdale Senate, the House and for state and local as a place to help create a positive future for offices.
    [Show full text]
  • The Ambiguity of “Weeping” in William Blake's Poetry
    Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 The Ambiguity of “Weeping” in William Blake’s Poetry Audrey F. Lytle Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Liberal Studies Commons, and the Scholarship of Teaching and Learning Commons Recommended Citation Lytle, Audrey F., "The Ambiguity of “Weeping” in William Blake’s Poetry" (1968). All Master's Theses. 1026. https://digitalcommons.cwu.edu/etd/1026 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. ~~ THE AMBIGUITY OF "WEEPING" IN WILLIAM BLAKE'S POETRY A Thesis Presented to the Graduate Faculty Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Education by Audrey F. Lytle August, 1968 LD S77/3 I <j-Ci( I-. I>::>~ SPECIAL COLL£crtoN 172428 Library Central W ashingtoft State Conege Ellensburg, Washington APPROVED FOR THE GRADUATE FACULTY ________________________________ H. L. Anshutz, COMMITTEE CHAIRMAN _________________________________ Robert Benton _________________________________ John N. Terrey TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION 1 Method 1 Review of the Literature 4 II. "WEEPING" IMAGERY IN SELECTED WORKS 10 The Marriage of Heaven and Hell 10 Songs of Innocence 11 --------The Book of Thel 21 Songs of Experience 22 Poems from the Pickering Manuscript 30 Jerusalem . 39 III. CONCLUSION 55 BIBLIOGRAPHY 57 APPENDIX 58 CHAPTER I INTRODUCTION I.
    [Show full text]
  • The Way to Otranto: Gothic Elements
    THE WAY TO OTRANTO: GOTHIC ELEMENTS IN EIGHTEENTH-CENTURY ENGLISH POETRY, 1717-1762 Vahe Saraoorian A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1970 ii ABSTRACT Although full-length studies have been written about the Gothic novel, no one has undertaken a similar study of poetry, which, if it may not be called "Gothic," surely contains Gothic elements. By examining Gothic elements in eighteenth-century poetry, we can trace through it the background to Horace Walpole's The Castle of Otranto, the first Gothic novel. The evolutionary aspect of the term "Gothic" itself in eighteenth-century criticism was pronounced, yet its various meanings were often related. To the early graveyard poets it was generally associated with the barbarous and uncouth, but to Walpole, writing in the second half of the century, the Gothic was also a source of inspiration and enlightenment. Nevertheless, the Gothic was most frequently associated with the supernatural. Gothic elements were used in the work of the leading eighteenth-century poets. Though an age not often thought remark­ able for its poetic expression, it was an age which clearly exploited the taste for Gothicism, Alexander Pope, Thomas Parnell, Edward Young, Robert Blair, Thomas and Joseph Warton, William Collins, Thomas Gray, and James Macpherson, the nine poets studied, all expressed notes of Gothicism in their poetry. Each poet con­ tributed to the rising taste for Gothicism. Alexander Pope, whose influence on Walpole was considerable, was the first poet of significance in the eighteenth century to write a "Gothic" poem.
    [Show full text]
  • (The Father) in Wiesel's Night As Response to the Holocaust
    humanities Article Father and God (the Father) in Wiesel’s Night as Response to the Holocaust Shannon Quigley Holocaust Studies, University of Haifa, Haifa 3498838, Israel; [email protected] Abstract: The proposed paper will begin by looking at the father–son relationship in Elie Wiesel’s Night. I will then briefly note the father–child relationship between God and Israel in the prophets of the Hebrew Bible. I will link the two challenges evident in Wiesel’s Night and in his continuing thought after the Shoah—the loss of family and the loss of God, his faith and/or his understanding of God—and note how these affect one another. After further assessing Wiesel’s father imagery in Night, I will note how Wiesel’s story, eventually making its way into the current version of Night, played a critical role in affecting the thought of Christian leaders and post-Holocaust Jewish–Christian reconciliation efforts. Keywords: Holocaust; Shoah; post-Holocaust; Elie Wiesel; Night; religiosity; Jewish–Christian relations; father–son 1. Introduction The Holocaust/Shoah has left behind countless afflicted hearts and souls who lived through its unrelenting fire, most of whose stories will never be known. But those that have shared their experiences have affected generations in the comprehension of what the Holocaust was and what unrelenting hate (of wicked people), alongside the unwillingness to stand for what was right (of “good” people who did nothing), can produce. Elie Wiesel’s Citation: Quigley, Shannon. 2021. Night is one of those stories. Father and God (the Father) in Wiesel’s memoir of his experience of the Holocaust through Night (first published in Wiesel’s Night as Response to French as La Nuit) gave multitudes a tiny window in.
    [Show full text]
  • Blake's Portrayal of Women
    ARTICLE Blake’s Portrayal of Women Anne K. Mellor Blake/An Illustrated Quarterly, Volume 16, Issue 3, Winter 1982/1983, pp. 148-155 PAGH 148 BLAKt. AS lU.USIRMlD QllARIh.Rl.) WINTHR 1982-83 Blake's Portrayal of Women BY ANNE K. MELLOR In Eden or Eternity, as Los says m Jerusalem, the human fallen world of Experience and try to redeem it. The more form divine is both male and female: courageous Oothoon lacks the power to break her lover's or her society's mind-forged manacles; thus she is, despite her When in Eternity Man converses with Man they enter liberated vision, an impotent revolutionary. Ololon, how- Into each others Bosom (which are Universes of delight) ever eager she is to give up her virginity and to unite with In mutual interchange, . Milton, remains a submissive Eve. And Jerusalem can only For Man cannot unite with Man but by their Emanations wait patiently for Albion to acknowledge her love and em- Which stand both Male & Female at the Gates of each Humanity brace her; her redemptive role in the poem is circumscribed (788:3-5, 9-10; E 244) by male choices and responses. Blake's attack on domineering women —on Rahab, Tirzah, Vala, Leutha, the Enitharmon Focusing on such lines as these, critics have hailed Blake as of Europe, and all those women whom he denounces as em- an advocate of androgyny, of a society in which there is total bodiments of the "Female Will" — is oven and repetitive. In a sexual equality. Irene Tayler has acclaimed Blake's revolu- typical passage, Los urges Albion to rebel against the power of tionary attack on the limited sex-roles of a patriarchal culture the female: and emphasized that in Blake's liberated Eternity, "there are no sexes, only Human Forms,"1 forms that experience no .
    [Show full text]
  • Chapter One the Gothic and Its Revivals Yannis Kanarakis
    Chapter One The Gothic and Its Revivals Yannis Kanarakis Image 1.1 Caspar David Friedrich, Cloister Cemetery in the Snow (1817-19). 1. Introduction: It’s … alive!!!!! It is very difficult to define the Gothic as a term. There have been, of course, many attempts to do so but none adequately embraces its full range which includes many seemingly contrasting works. The term has been associated with Northern European tribes, medieval ecclesiastical architecture, and figures like Dracula, Cthulhu and Batman; it has been linked with concepts like the sublime, the uncanny or the doppelganger; and it has been used to characterize novels like Wuthering Heights, The Beloved and American Psycho, music by artists like Marilyn Manson, Nick Cave or Siouxsie and the Banshees, movies like Psycho, the Silence of the Lambs and Twilight, or even contemporary series like Vampire Diaries, True Blood or American Horror Story, to name but a few. All these seemingly incongruent instances are indicative of a term with a long historical trajectory that has been constantly shifting as a response to various socio-cultural and economic factors. In this sense, we might argue that the Gothic defies any definitions precisely because it is itself a term that is vibrant and non static, a term that refuses to die out, and which, despite its long history, is still […] alive and kicking. 9 Yannis Kanarakis A closer look at the historical conditions that gave birth to the Gothic and resulted in its rise will help us establish some of its basic parameters which account for its adaptability, persistence and appeal as a cultural form throughout the ages.
    [Show full text]