In the mythology of William Blake, Urizen is the embodiment of conventional reason and law. He is usually depicted as a bearded old man; he sometimes bears architect's tools, to create and constrain the universe; or nets, with which he ensnares people in webs of law and conventional society. Originally, Urizen represented one half of a two-part system, with him representing reason and Los, his opposition, representing imagination. In Blake's reworking of his mythic system, Urizen is one of the four Zoas that result from the division of the primordial man, Albion, and he continues to represent reason. He has an Emanation, or paired female equivalent, Ahania, who stands for Pleasure. In Blake's myth, Urizen is joined by many daughters with three representing aspects of the body. He is also joined by many sons, with four representing the four elements. These sons join in rebellion against their father but are later united in the Last Judgment. In many of Blake's books, Urizen is seen with four books that represent the various laws that he places upon humanity.
The prophetic books of the English poet and artist William Blake contain an invented mythology, in which Blake worked to encode his spiritual and political ideas into a prophecy for a new age. This desire to recreate the cosmos is the heart of his work and his psychology. His myths often described the struggle between enlightenment and free love on the one hand, and restrictive education and morals on the other.
Orc is a proper name for one of the characters in the complex mythology of William Blake. A fallen figure, Orc is the embodiment of rebellion, and stands opposed to Urizen, the embodiment of tradition.
In the mythology of William Blake, Albion is the primeval man whose fall and division results in the Four Zoas: Urizen, Tharmas, Luvah/Orc and Urthona/Los. The name derives from the ancient and mythological name of Britain, Albion.
Jerusalem, subtitled The Emanation of the Giant Albion, is a prophetic book by English poet William Blake. Jerusalem is the last, longest and greatest in scope of Blake's works. Etched in handwriting, accompanied by small sketches, marginal figures and huge full-plate illustrations, it has been described as "visionary theatre". The poet himself believed it was his masterpiece and it has been said that "of all Blake's illuminated epics, this is by far the most public and accessible". Nonetheless, only six copies were printed in Blake's lifetime and the book, like all of Blake's prophetic works, was all but ignored by his contemporaries.
The Book of Urizen is one of the major prophetic books of the English writer William Blake, illustrated by Blake's own plates. It was originally published as The First Book of Urizen in 1794. Later editions dropped the "First". The book takes its name from the character Urizen in Blake's mythology, who represents alienated reason as the source of oppression. The book describes Urizen as the "primeaval priest" and narrates how he became separated from the other Eternals to create his own alienated and enslaving realm of religious dogma. Los and Enitharmon create a space within Urizen's fallen universe to give birth to their son Orc, the spirit of revolution and freedom.
Ahania is the Emanation, or female counterpart, of Urizen, Zoas of reason, in William Blake's mythology. She is the representation of pleasure and the desire for intelligence. Although Urizen casts her out as being the manifestation of sin, she is actually an essential component in Blake's system to achieving Divine Wisdom. She is a figure of the goddess of wisdom. It is through her that the sons and daughters of Urizen are born. In the original myth, her son Fuzon rebels against his father and is responsible for separating Urizen and Ahania. In his later version, Ahania is separated from Urizen after he believes that she is sinful.
The Book of Ahania is one of the English poet William Blake's prophetic books. It was published in 1795, illustrated by Blake's own plates.
The prophetic books of the 18th-century English poet and artist William Blake are a series of lengthy, interrelated poetic works drawing upon Blake's own personal mythology. They have been described as forming "what is in proportion to its merits the least read body of poetry in the English language". While Blake worked as a commercial illustrator, these books were ones that he produced, with his own engravings, as an extended and largely private project.
Enitharmon is a major female character in William Blake's mythology, playing a main part in some of his prophetic books. She is, but not directly, an aspect of the male Urthona, one of the Four Zoas. She is in fact the Emanation of Los, also male. There is a complex verbal nexus attached. The Zoa Tharmas has emanation Enion, and Eni-tharm(as)-on is one derivation of her name. That should perhaps be read in the inverse direction though, as a construction of the Tharmas/Enion pair's names. Within Blake's myth, she represents female domination and sexual restraints that limit the artistic imagination. She, with Los, gives birth to various children, including Orc.
In the mythological writings of William Blake, Tharmas is one of the four Zoas, who were created when Albion, the primordial man, was divided fourfold. He represents sensation, and his female counterpart is Enion, who represents sexual urges. He is connected to the God the Father aspect of the Christian Trinity and is the begetter of Los. Tharmas is mostly peaceful, and flees during most of his fights with Urizen. He is depicted in various ways ranging from a youth with wings to an old bearded man.
In the mythological writings of William Blake, Luvah is one of the four Zoas, who were created when Albion, the primordial man, was divided fourfold. He represents love, passion, and rebellious energy. His Emanation is Vala; his fallen form is Orc. Throughout Blake's mythological system, he is opposed to Urizen, the representation of reason. He is also connected to Jesus, who takes upon his form as the being of love after Luvah falls and turns to a being of hate.
In the mythological writings of William Blake, Urthona is one of the four Zoas, who were created when Albion, the primordial man, was divided fourfold. Specifically, he is the Zoa of inspiration and creativity, and he is a blacksmith god. His female counterpart is Enitharmon. Urthona usually appears in his "fallen" form, that of Los.
The Spectre is one aspect of the fourfold nature of the human psyche along with Humanity, Emanation and Shadow that William Blake used to explore his spiritual mythology throughout his poetry and art. As one of Blake's elements of the psyche, Spectre takes on symbolic meaning when referred to throughout his poems. According to professor Joseph Hogan, "Spectre functions to define individuals from others [...] When it is separated [from Emanation], it is reason, trying to define everything in terms of unchanging essences." Thus, according to Samuel Foster Damon, Spectre epitomizes "Reason separated from humanity" and "Self-centered selfhood" or, as Alexander S. Gourlay puts it, Spectre is "characterized by self-defensive rationalization".
Vala, or The Four Zoas is one of the uncompleted prophetic books by the English poet William Blake, begun in 1797. The eponymous main characters of the book are the Four Zoas, who were created by the fall of Albion in Blake's mythology. It consists of nine books, referred to as "nights". These outline the interactions of the Zoas, their fallen forms and their Emanations. Blake intended the book to be a summation of his mythic universe but, dissatisfied, he abandoned the effort in 1807, leaving the poem in a rough draft and its engraving unfinished. The text of the poem was first published, with only a small portion of the accompanying illustrations, in 1893, by the Irish poet W. B. Yeats and his collaborator, the English writer and poet Edwin John Ellis, in their three-volume book The Works of William Blake.
The Song of Los is one of William Blake's epic poems, known as prophetic books. The poem consists of two sections, "Africa" and "Asia". In the first section Blake catalogues the decline of morality in Europe, which he blames on both the African slave trade and enlightenment philosophers. The book provides a historical context for The Book of Urizen, The Book of Ahania, and The Book of Los, and also ties those more obscure works to The Continental Prophecies, "Europe" and "America". The second section consists of Los urging revolution.
The Book of Los is a 1795 prophetic book by the English poet and painter William Blake. It exists in only one copy, now held by The British Museum. The book is related to the Book of Urizen and to the Continental prophecies; it is essentially a retelling of Urizen from the point of view of Los. The book has been described as a rewriting of the ancient myth of creation that equates fall with the loss of spiritual vision brought about by selfhood.
In the mythological writings of William Blake, Vala is an Emanation/mate of Luvah, one of the four Zoas, who were created when Albion, the primordial man, was divided fourfold. She represents nature while Luvah represents emotions. Originally with Luvah, she joins with Albion and begets the Zoa Urizen. In her fallen aspect, she is the wandering figure known as the Shadowy Female. After the Final Judgment, she is reunited with Luvah but placed under the dominion of the restored Urizen.
In the mythological writings of William Blake, Enion is an Emanation/mate of Tharmas, one of the four Zoas, who were created when Albion, the primordial man, was divided fourfold. She represents sexuality and sexual urges while Tharmas represents sensation. In her fallen aspect, she is a wailing woman that is filled with jealousy. After the Final Judgment, she is reunited with Tharmas and able to experience an idealised sexual union.
There is No Natural Religion is a series of philosophical aphorisms by William Blake, written in 1788. Following on from his initial experiments with relief etching in the non-textual The Approach of Doom (1787), All Religions are One and There is No Natural Religion represent Blake's first successful attempt to combine image and text via relief etching, and are thus the earliest of his illuminated manuscripts. As such, they serve as a significant milestone in Blake's career; as Peter Ackroyd points out, "his newly invented form now changed the nature of his expression. It had enlarged his range; with relief etching, the words inscribed like those of God upon the tables of law, Blake could acquire a new role."
