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The Satanic Blake : the Continuing Empathy with Rebellious and Creative Energy As Presented in "Satan Rousing His Legions"

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The Satanic Blake : the Continuing Empathy with Rebellious and Creative Energy As Presented in University of Lethbridge Research Repository OPUS http://opus.uleth.ca Theses Arts and Science, Faculty of 2007 The Satanic Blake : the continuing empathy with rebellious and creative energy as presented in "Satan Rousing His Legions" Meckelborg, Robert James Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2007 http://hdl.handle.net/10133/622 Downloaded from University of Lethbridge Research Repository, OPUS THE SATANIC BLAKE: THE CONTINUING EMPATHY WITH REBELLIOUS AND CREATIVE ENERGY AS PRESENTED IN ‘SATAN ROUSING HIS LEGIONS’ ROBERT JAMES MECKELBORG Bachelor of Arts – Double Major in English and Art, University of Lethbridge, 2002 A Thesis Submitted to the School of Graduate Studies of the University of Lethbridge in Partial Fulfilment of the Requirements for the Degree MASTER OF ARTS English Department University of Lethbridge LETHBRIDGE, ALBERTA, CANADA © Rob Meckelborg, 2007 Rob Meckelborg The Satanic Blake ABSTRACT Through an examination of Blake’s idea of Satan and his depiction of Satan and the rebel angels in the Paradise Lost design Satan Rousing his Legions, my thesis will demonstrate four principle findings, in addition to offering a fresh and unconventional interpretation to what is arguably Blake’s most profound depiction of Satan. One result is the demonstration that Blake maintained and developed his idea of Satan as a force of revolutionary energy and paradigm of Creative Imagination throughout his life. Secondly, I will demonstrate that Blake’s employment of, and references to, a punitive, destructive, and materialistic Satan is in fact a personification of the oppressive aspect of the Church and State. My third determination is that Blake’s vision of the Church as the oppressive and repressive tyrant Urizen did not soften as he aged but was steadfastly maintained until his death. And finally, I will establish that Blake did in fact maintain his revolutionary enthusiasm his entire life. iii Rob Meckelborg The Satanic Blake ACKNOWLEDGEMENTS I wish to thank the three members of my Supervisory Committee who worked closely with me through several long drafts and contributed much to improve this thesis. I appreciate that Dr. Dan O’Donnell agreed to take on the responsibility of assuming a vacant position as Committee Member well after the degree program had started, in addition to his duties as Professor of English and Chair of the English Department. I have had the pleasure of being a student in several classes taught by Dr. Leslie Dawn of the Department of Fine Arts, and am pleased that he accepted the position of Committee Member and I appreciate the perspective that his expertise in his discipline brought to this endeavour. Last, but certainly not least, I extend my gratitude to Dr. Richard Arnold of the Department of English, without a doubt one of the finest educators, whose profound knowledge and appreciation of Blake was the inspiration for this task. I am certain that if Dr. Arnold had not been available to assume the arduous position of Committee Supervisor, this project would not have been initiated. I would also like to thank my family – Ray, Brigitte, and Marie – for their continued support and encouragement and their confidence in my ability to successfully complete my degree. Finally, I extend my gratitude to the Department of Graduate Studies for their assistance and the University of Lethbridge for providing me with a Teaching Assistantship during my studies. iv Rob Meckelborg The Satanic Blake TABLE OF CONTENTS KEY TO REFERENCES ................................................................................................. 2 LIST OF ABBREVIATIONS .......................................................................................... 3 PART I – INTRODUCTION ........................................................................................... 4 PART II – TEXTUAL-THEORETICAL CONSIDERATION .................................. 16 Satan and The Marriage of Heaven and Hell ............................................................ 17 Satan and Orc .............................................................................................................. 29 Satan and Los .............................................................................................................. 33 Satan and Milton and Jerusalem ................................................................................ 36 PART III – THE ILLUSTRATIONS: A GRAPHIC CONSIDERATION ............... 43 Blake, Milton, and Details .......................................................................................... 44 The Rebel Angels ......................................................................................................... 56 Satan ........................................................................................................................... 100 Hell ............................................................................................................................. 148 1808 Version Revisions ............................................................................................. 156 PART IV – CONCLUSION ......................................................................................... 162 ILLUSTRATIONS ........................................................................................................ 170 BIBLIOGRAPHY ......................................................................................................... 215 NOTES ........................................................................................................................... 220 1 Rob Meckelborg The Satanic Blake KEY TO REFERENCES References to both Young’s text and to Blake’s illustrations of the text are made to William Blake’s Designs for Edward Young’s “Night Thoughts”, 2 vols, ed. John E. Grant, Edward J. Rose, Michael J. Tolley, and David V. Erdman (Oxford: The Clarendon Press, 1980) by the number there assigned to each page of Blake’s watercolours (e.g. NT 118). References to specific plates of Blake’s Illuminated Books come from David Bindman’s William Blake: The Complete Illuminated Books (New York: Thames & Hudson Inc., 2000), unless otherwise noted, and consist of the following copies: Songs of Innocence and Experience, copy W The Marriage of Heaven and Hell, copy F Visions of the Daughters of Albion, copy G America a Prophecy, copy H Europe a Prophecy, copy B The Song of Los, copy A The First Book of Urizen, copy D The Book of Ahania, copy A The Book of Los, copy A Milton a Poem, copy C Jerusalem The Emanation of the Giant Albion, copy E 2 Rob Meckelborg The Satanic Blake LIST OF ABBREVIATIONS The following common abbreviations and short titles are used for Blake’s works: Abel The Ghost of Abel AR All Religions Are One Am or America America a Prophecy BoL The Book of Los CORM Christ Offers to Redeem Man DesC Descriptive Catalogue EG The Everlasting Gospel Eur or Europe Europe a Prophecy FR French Revolution FZ Four Zoas GP Gates of Paradise J or Jerusalem Jerusalem The Emanation of the Giant Albion JAE The Judgment of Adam and Eve MFC Michael Foretells the Crucifixion MHH The Marriage of Heaven and Hell Mil or Milton Milton a Poem NNR There Is No Natural Religion NT Illustrations to Young’s “Night Thoughts” RRA Rout of the Rebel Angels SE or Experience Songs of Experience SI or Innocence Songs of Innocence SoL The Song of Los SRL Satan Rousing his Legions SSAE Satan Spying on Adam and Eve and Raphael’s Descent into Paradise SSD Satan, Sin, and Death: Satan Comes to the Gates of Hell SWEAE Satan Watching the Endearments of Adam and Eve Ur or Urizen The First Book of Urizen VDA Visions of the Daughters of Albion VLJ A Vision of the Last Judgment The following abbreviations and short titles are used for other works: Cain Cain, A Mystery (Lord Byron) PL Paradise Lost (John Milton) PR Paradise Regained (John Milton) 3 Rob Meckelborg The Satanic Blake PART I – INTRODUCTION ‘I must Create a System, or be enslav’d by another Man’s. I will not Reason & Compare: my business is to Create’ William Blake, Jerusalem 4 Rob Meckelborg The Satanic Blake Above all William Blake prized the imagination. Blake’s early term for the universal imagination is the Poetic Genius, first identified in his inaugural example of Illuminated Printing All Religions are One (c.1788) as the source and expression of all true religions and philosophies which are manifested in poets and prophets. For Blake, the ‘Eternal Spirit’ that gifted the prophets is what he understands to be inspiration, the divine power of God. The gift that this inspiration offers is imagination. Blake believed that the authority of the Bible comes from its origin within the human imagination: “the Imagination being the only source of divine knowledge which Blake recognized.”1 According to Blake, this Poetic Genius is God in each person: ‘The true Man is the source he being the Poetic Genius’ (ARO, Principle 7th); ‘The Eternal Body of Man is The Imagination, that is God himself’ (Laocoön, 1826). Blake came to describe consistently this supreme faculty of both God and man as ‘Creative Imagination’ and personified it in the character of Los. For Blake, ‘spiritual’ and ‘imaginative’ are often interchangeable concepts, and he occasionally uses ‘intellect’ interchangeably with ‘imagination’. According to J.M.Q. Davies, in Blake's Milton Designs: The Dynamics of Meaning (1993), Blake understood ‘high intuitive intelligence’ to be “a kind of inspired common sense that he admired in Christ and referred to variously
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