The Marriage of Heaven and Hell is a book by the English poet and printmaker William Blake. It is a series of texts written in imitation of biblical prophecy but expressing Blake's own intensely personal Romantic and revolutionary beliefs. Like his other books, it was published as printed sheets from etched plates containing prose, poetry, and illustrations. The plates were then coloured by Blake and his wife Catherine.
It opens with an introduction of a short poem entitled "Rintrah roars and shakes his fires in the burden'd air".
William Blake claims that John Milton was a true poet and his epic poem Paradise Lost was "of the Devil's party without knowing it". He also claims that Milton's Satan was truly his Messiah.[2]
The work was composed between 1790 and 1793, in the period of radical ferment and political conflict during the French Revolution. The title is an ironic reference to Emanuel Swedenborg's theological work Heaven and Hell, published in Latin 33 years earlier. Swedenborg is directly cited and criticised by Blake in several places in the Marriage. Though Blake was influenced by his grand and mystical cosmic conception, Swedenborg's conventional moral strictures and his Manichaean view of good and evil led Blake to express a deliberately depolarised and unified vision of the cosmos in which the material world and physical desire are equally part of the divine order; hence, a marriage of heaven and hell. The book is written in prose, except for the opening "Argument" and the "Song of Liberty". The book describes the poet's visit to Hell, a device adopted by Blake from Dante's Divine Comedy and Milton's Paradise Lost.
Proverbs of Hell
Plate from Marriage of Heaven and Hell, depicting Nebuchadnezzar.
Unlike those of Milton and Dante, Blake's conception of Hell begins not as a place of punishment, but as a source of unrepressed, somewhat Dionysian energy, opposed to the authoritarian and regulated perception of Heaven. Blake's purpose is to create what he called a "memorable fancy" in order to reveal the repressive nature of conventional morality and institutional religion, which he describes thus:
The ancient Poets animated all sensible objects with Gods or Geniuses, calling them by the names and adorning them with the properties of woods, rivers, mountains, lakes, cities, nations, and whatever their enlarged & numerous senses could perceive.
And particularly they studied the genius of each city & country, placing it under its mental deity.
Till a system was formed, which some took advantage of & enslav'd the vulgar by attempting to realize or abstract the mental deities from their objects: thus began Priesthood.
Choosing forms of worship from poetic tales.
And at length they pronounced that the Gods had orderd such things.
Thus men forgot that All deities reside in the human breast.[3]
—Plate 11
In the most famous part of the book, Blake reveals the Proverbs of Hell. These display a very different kind of wisdom from the Biblical Book of Proverbs. The diabolical proverbs are provocative and paradoxical. Their purpose is to energise thought. Several of Blake's proverbs have become famous:
The road of excess leads to the palace of wisdom.[4]
—"Proverbs of Hell" line 3 (Plate 7)
The tygers of wrath are wiser than the horses of instruction.[5]
—"Proverbs of Hell" line 44 (Plate 9)
Blake explains that,
Without Contraries is no progression. Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to Human existence.
From these contraries spring what the religious call Good & Evil. Good is the passive that obeys Reason. Evil is the active springing from Energy.
Blake's theory of contraries was not a belief in opposites but rather a belief that each person reflects the contrary nature of God, and that progression in life is impossible without contraries. Moreover, he explores the contrary nature of reason and of energy, believing that two types of people existed: the "energetic creators" and the "rational organizers", or, as he calls them in The Marriage of Heaven and Hell, the "devils" and "angels". Both are necessary to life according to Blake.[7]
Blake's text has been interpreted in many ways. It certainly forms part of the revolutionary culture of the period. The references to the printing-house suggest the underground radical printers producing revolutionary pamphlets at the time. Ink-blackened printworkers were comically referred to as a "printer's devil", and revolutionary publications were regularly denounced from the pulpits as the work of the devil.
Doors of Perception
The book includes "If the doors of perception were cleansed every thing would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro' narrow chinks of his cavern".[8] This has similarities with Huxley's concept of "Mind at Large".
Influence
The Marriage of Heaven and Hell is probably the most influential of Blake's works.[citation needed] Its vision of a dynamic relationship between a stable "Heaven" and an energised "Hell" has fascinated theologians, aestheticians and psychologists.
Aldous Huxley took the name of one of his most famous works, The Doors of Perception, from this work. The Doors of Perception, in turn, inspired the name of the American rock band The Doors.[9] Huxley's contemporary C. S. Lewis wrote The Great Divorce about the divorce of Heaven and Hell, in response to Blake's Marriage.
An allusion from The Marriage of Heaven and Hell, depicting Aristotle's skeleton, is present in Wallace Stevens's poem "Less and Less Human, O Savage Spirit".
↑ Simmonds, Jeremy (2008). The Encyclopedia of Dead Rock Stars: Heroin, Handguns, and Ham Sandwiches. Chicago: Chicago Review Press. p.45. ISBN978-1-55652-754-8.
The Doors of Perception is an autobiographical book written by Aldous Huxley. Published in 1954, it elaborates on his psychedelic experience under the influence of mescaline in May 1953. Huxley recalls the insights he experienced, ranging from the "purely aesthetic" to "sacramental vision", and reflects on their philosophical and psychological implications. In 1956, he published Heaven and Hell, another essay which elaborates these reflections further. The two works have since often been published together as one book; the title of both comes from William Blake's 1793 book The Marriage of Heaven and Hell.
William Blake was an English poet, painter, and printmaker. Largely unrecognised during his life, Blake has become a seminal figure in the history of the poetry and visual art of the Romantic Age. What he called his "prophetic works" were said by 20th-century critic Northrop Frye to form "what is in proportion to its merits the least read body of poetry in the English language". While he lived in London his entire life, except for three years spent in Felpham, he produced a diverse and symbolically rich collection of works, which embraced the imagination as "the body of God", or "human existence itself".
Heaven and Hell may refer to:
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.
"The Tyger" is a poem by the English poet William Blake, published in 1794 as part of his Songs of Experience collection and rising to prominence in the romantic period. The poem is one of the most anthologised in the English literary canon, and has been the subject of both literary criticism and many adaptations, including various musical versions. The poem explores and questions Christian religious paradigms prevalent in late 18th century and early 19th century England, discussing God's intention and motivation for creating both the "Lamb" and the eponymous "Tyger."
Heaven and Hell is a philosophical essay by Aldous Huxley published in 1956. Huxley derived the title from William Blake's book The Marriage of Heaven and Hell. The essay discusses the relationship between bright, colorful objects, geometric designs, psychoactives, art, and profound experience. Heaven and Hell metaphorically refer to what Huxley conceives to be two contrary mystical experiences that potentially await when one opens the "doors of perception"—not only in a mystical experience, but in prosaic life.
Heaven and Hell is the common English title of a book written by Emanuel Swedenborg in Latin, published in 1758. The full title is Heaven and its Wonders and Hell From Things Heard and Seen, or, in Latin: De Caelo et Eius Mirabilibus et de inferno, ex Auditis et Visis. It gives a detailed description of the afterlife; how people live after the death of the physical body. The book owes its popular appeal to that subject matter.
Har is a character in the mythological writings of William Blake, who roughly corresponds to an aged Adam. His wife, Heva, corresponds to Eve. Har appears in Tiriel (1789) and The Song of Los (1795) and is briefly mentioned in The Book of Thel (1790) and Vala, or The Four Zoas (1796-1803).
"London" is a poem by William Blake, published in the Songs of Experience in 1794. It is one of the few poems in Songs of Experience that reflects a constrained or bleak view of the city. Written during the time of significant political and social upheaval in England, the poem expresses themes of oppression, poverty, and institutional corruption. Scholars have suggested that Blake used this work to critique the impacts of industrialization and to highlight the experiences of London's impoverished residents.
The New Church can refer to any of several historically related Christian denominations that developed under the influence of the theology of Emanuel Swedenborg (1688–1772). The Swedenborgian tradition is considered to be a part of Restorationist Christianity.
Tiriel is a narrative poem by William Blake, written c.1789. Considered the first of his prophetic books, it is also the first poem in which Blake used free septenaries, which he would go on to use in much of his later verse. Tiriel was unpublished during Blake's lifetime and remained so until 1874, when it appeared in William Michael Rossetti's Poetical Works of William Blake. Although Blake did not engrave the poem, he did make twelve sepia drawings to accompany the rough and unfinished manuscript. However, three of them are considered lost as they have not been traced since 1863.
"The Clod and the Pebble" is a poem from William Blake's 1794 collection Songs of Innocence and of Experience.
The Little Vagabond is a 1794 poem by English poet William Blake in his collection Songs of Innocence and of Experience. His collection, Songs of Innocence, was originally published alone, in 1789. The scholar Robert Gleckner says that the poem is a form of transformation of the boy in the poem "The School Boy", from Songs of Innocence.
Europe a Prophecy is a 1794 prophetic book by the British poet and illustrator William Blake. It is engraved on 18 plates, and survives in just nine known copies. It followed America a Prophecy of 1793.
William Blake's body of work has influenced countless writers, poets and painters, and his legacy is often apparent in modern popular culture. His artistic endeavours, which included songwriting in addition to writing, etching and painting, often espoused a sexual and imaginative freedom that has made him a uniquely influential figure, especially since the 1960s. After Shakespeare, far more than any other canonical writer, his songs have been set and adapted by popular musicians including U2, Jah Wobble, Tangerine Dream, Bruce Dickinson and Ulver. Folk musicians, such as M. Ward, have adapted or incorporated portions of his work in their music, and figures such as Bob Dylan, Alasdair Gray and Allen Ginsberg have been influenced by him. The genre of the graphic novel traces its origins to Blake's etched songs and Prophetic Books, as does the genre of fantasy art.
William Blake's Illustrations of the Book of Job primarily refers to a series of twenty-two engraved prints by Blake illustrating the biblical Book of Job. It also refers to two earlier sets of watercolours by Blake on the same subject. The engraved Illustrations are considered to be Blake's greatest masterpieces in the medium of engraving, and were also a rare commercial and critical success for Blake.
The continental prophecies is a group of illuminated books by William Blake that have been subject of numerous studies due to their recurrent and unorthodox use of political, literary and sexual metaphors. They consist of America, Europe and The Song of Los.
Poetical Sketches is the first collection of poetry and prose by William Blake, written between 1769 and 1777. Forty copies were printed in 1783 with the help of Blake's friends, the artist John Flaxman and the Reverend Anthony Stephen Mathew, at the request of his wife Harriet Mathew. The book was never published for the public, with copies instead given as gifts to friends of the author and other interested parties. Of the forty copies, fourteen were accounted for at the time of Geoffrey Keynes' census in 1921. A further eight copies had been discovered by the time of Keynes' The Complete Writings of William Blake in 1957. In March 2011, a previously unrecorded copy was sold at auction in London for £72,000.
All Religions are One 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."
The Notebook of William Blake was used by William Blake as a commonplace book from c. 1787 to 1818.
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