II
But if there was nothing to distract him from sincerity there were, on the other hand, the dangers to which the naked man is exposed. His philosophy, like his visions, like his insight, like his technique, was his own. And accordingly he was inclined to attach more importance to it than an artist should; this is what makes him eccentric, and makes him inclined to formlessness.
But most through midnight streets I hear
How the youthful harlot’s curse
Blasts the new-born infant’s tear,
And blights with plagues the marriage hearse,
is the naked vision;
Love seeketh only self to please,
To bind another to its delight,
Joys in another’s loss of ease,
And builds a Hell in Heaven’s despite,
is the naked observation; and The Marriage of Heaven and Hell is naked philosophy, presented. But Blake’s occasional marriages of poetry and philosophy are not so felicitous.
He who would do good to another must do it in Minute Particulars.
General Good is the plea of the scoundrel, hypocrite, and flatterer;
For Art and Science cannot exist but in minutely organized particulars....
One feels that the form is not well chosen. The borrowed philosophy of Dante and Lucretius is perhaps not so interesting, but it injures their form less. Blake did not have that more Mediterranean gift of form which knows how to borrow as Dante borrowed his theory of the soul; he must needs create a philosophy as well as a poetry. A similar formlessness attacks his draughtsmanship. The fault is most evident, of course, in the longer poems—or rather, the poems in which structure is important. You cannot create a very large poem without introducing a more impersonal point of view, or splitting it up into various personalities. But the weakness of the long poems is certainly not that they are too visionary, too remote from the world. It is that Blake did not see enough, became too much occupied with ideas.
We have the same respect for Blake’s philosophy (and perhaps for that of Samuel Butler) that we have for an ingenious piece of home-made furniture: we admire the man who has put it together out of the odds and ends about the house. England has produced a fair number of these resourceful Robinson Crusoes; but we are not really so remote from the Continent, or from our own past, as to be deprived of the advantages of culture if we wish them.
We may speculate, for amusement, whether it would not have been beneficial to the north of Europe generally, and to Britain in particular, to have had a more continuous religious history. The local divinities of Italy were not wholly exterminated by Christianity, and they were not reduced to the dwarfish fate which fell upon our trolls and pixies. The latter, with the major Saxon deities, were perhaps no great loss in themselves, but they left an empty place; and perhaps our mythology was further impoverished by the divorce from Rome. Milton’s celestial and infernal regions are large but insufficiently furnished apartments filled by heavy conversation; and one remarks about the Puritan mythology an historical thinness. And about Blake’s supernatural territories, as about the supposed ideas that dwell there, we cannot help commenting on a certain meanness of culture. They illustrate the crankiness, the eccentricity, which frequently affects writers outside of the Latin traditions, and which such a critic as Arnold should certainly have rebuked. And they are not essential to Blake’s inspiration.
Blake was endowed with a capacity for considerable understanding of human nature, with a remarkable and original sense of language and the music of language, and a gift of hallucinated vision. Had these been controlled by a respect for impersonal reason, for common sense, for the objectivity of science, it would have been better for him. What his genius required, and what it sadly lacked, was a framework of accepted and traditional ideas which would have prevented him from indulging in a philosophy of his own, and concentrated his attention upon the problems of the poet. Confusion of thought, emotion, and vision is what we find in such a work as Also Sprach Zarathustra; it is eminently not a Latin virtue. The concentration resulting from a framework of mythology and theology and philosophy is one of the reasons why Dante is a classic, and Blake only a poet of genius. The fault is perhaps not with Blake himself, but with the environment which failed to provide what such a poet needed; perhaps the circumstances compelled him to fabricate, perhaps the poet required the philosopher and mythologist; although the conscious Blake may have been quite unconscious of the motives.