The Portable William Blake Read Free

autonomous decorative fancy, the intellectual mockery and irreverence. That part of surrealism which is not art is usually insincerity, and to Blake any portion of insincerity was a living death. As he hated church dogma, so he hated scepticism, doubt, experimentalism. He did not believe in sin, only in “intellectual error”; he loathed every dualistic conception of good and evil; the belief that any human being could be punished, here or elsewhere, for “following his energies.” But he thought that unbelief—that is, the admission of uncertainty on the part of any person—was wicked. He understood that man’s vital energies cannot be suppressed or displaced without causing distortion; he saw into the personal motivations of human conflict and the many concealments of it which are called culture. He celebrated in Songs of Innocence with extraordinary inward understanding, the imaginative separateness of the child. He hated scientific investigation. He could say in his old age, when provoked, that he believed the world was flat. He was undoubtedly sincere, but he did not really care what shape it was; he would not have believed any evidence whatsoever that there were many planets and universes. He did not believe in God; under all his artistic labors and intellectual heresies he seems to have thought of nothing else. He is one of the most prophetic and gifted rebels in the history of Western man—a man peculiarly of our time, with the divisions of our time. Some of his ideas were automatically superstitious, and a large part of his writing is rant. There are features of his thought that carry us beyond the subtlest understanding we have of the relations between man and woman, the recesses of the psyche, the meaning of human error, tyranny, and happiness. There are chapters in his private mythology that carry us into a nightmare world of loneliness and fanaticism, like a scream repeated interminably on a record in which a needle is stuck.
    Yet Blake is very much like Beethoven in his artistic independence and universality. Like Beethoven, he is a pioneer Romantic of that heroic first generation which thought that the flames of the French Revolution would burn down all fetters. Like Beethoven, he asserts the creative freedom of the imagination within his work and makes a new world of thought out of it. There sounds all through Blake’s poetry, from the boyish and smiling defiance of neo-classic formalism in Poetical Sketches,
    The languid strings do scarcely move!
The sound is forc’d, the notes are few!
to the vision of man the divine in Jerusalem that lyric despair mingled with quickness to exaltation, that sense of a primal intelligence fighting the mind’s limitations, that brings Beethoven’s last quartets so close to absolute meditation and the Ninth Symphony to a succession of triumphal mashes. What is nearest and first in both men is so strong a sense of their own identity that they are always reaching beyond man’s conception of his powers. In both there is a positive assertion against suffering, an impatience with forms and means. As Beethoven said of the violinist who complained of the difficulty of one of the Rasumofsky quartets—“Does he really suppose I think of his puling little fiddle when the spirit speaks to me and I compose something?”—so to Blake the forms he uses in his last Prophetic Books, even to their very narrative coherence, are nothing before the absoluteness of his vision. In both life becomes synonymous with the will.
    There, however, the resemblance ends. For Beethoven does not block our way by asking us to read him in symbols of his own invention. He is subtle, moving, reflective, in a language which we share because he has made it possible for us to share in it. Out of a limited number of musical tones and devices, he has organized his thought and impressed his conception in such a way that his difference is all in his art. When we have grasped his meaning something has