IV
There is in Swedenborg's manner of expression a seeming superficiality. We follow an easy narrative, sometimes incredulous, but always, as we think, understanding, for his moral conceptions are simple, his technical terms continually repeated, and for the most part we need but turn for his "correspondence," his symbolism as we would say, to the index of his Arcana Celestia. Presently, however, we discover that he treads upon this surface by an achievement of power almost as full of astonishment as if he should walk upon water charmed to stillness by some halcyon; while his disciple and antagonist Blake is like a man swimming in a tumbling sea, surface giving way to surface and deep showing under broken deep. A later mystic has said of Swedenborg that he but half felt, half saw, half tasted the kingdom of heaven, and his abstraction, his dryness, his habit of seeing but one element in everything, his lack of moral speculation have made him the founder of a church, while William Blake, who grows always more exciting with every year of life, grows also more obscure. An impulse towards what is definite and sensuous, and an indifference towards the abstract and the general, are the lineaments, as I understand the world, of all that comes not from the learned, but out of common antiquity, out of the "folk" as we say, and in certain languages, Irish for instance—and these languages are all poetry—it is not possible to speak an abstract thought. This impulse went out of Swedenborg when he turned from vision. It was inseparable from this primitive faculty, but was not a part of his daily bread, whereas Blake carried it to a passion and made it the foundation of his thought. Blake was put into a rage by all painting where detail is generalized away, and complained that Englishmen after the French Revolution became as like one another as the dots and lozenges in the mechanical engraving of his time, and he hated histories that gave us reasoning and deduction in place of the events, and St. Paul's Cathedral because it came from a mathematical mind, and told Crabb Robinson that he preferred to any others a happy, thoughtless person. Unlike Swedenborg he believed that the antiquities of all peoples were as sacred as those of the Jews, and so rejecting authority and claiming that the same law for the lion and the ox was oppression, he could believe "all that lives is holy," and say that a man if he but cultivated the power of vision would see the truth in a way suited "to his imaginative energy," and with only so much resemblance to the way it showed in for other men, as there is between different human forms. Born when Swedenborg was a new excitement, growing up with a Swedenborgian brother, who annoyed him "with bread and cheese advice," and having, it may be, for nearest friend the Swedenborgian Flaxman with whom he would presently quarrel, he answered the just translated Heaven and Hell with the paradoxical violence of The Marriage of Heaven and Hell. Swedenborg was but "the linen clothes folded up" or the angel sitting by the tomb, after Christ, the human imagination, had arisen. His own memory being full of images from painting and from poetry he discovered more profound "correspondences," yet always in his boys and girls walking or dancing on smooth grass and in golden light, as in pastoral scenes cut upon wood or copper by his disciples Palmer and Calvert one notices the peaceful Swedenborgian heaven. We come there, however, by no obedience but by the energy that "is eternal delight," for "the treasures of heaven are not negations of passion but realities of intellect from which the passions emanate uncurbed in their eternal glory." He would have us talk no more "of the good man and the bad," but only of "the wise man and the foolish," and he cries, "Go put off holiness and put on intellect."
Higher than all souls that seem to theology to have found a final state, above good and evil, neither accused, nor yet accusing, live those, who have come to freedom, their senses sharpened by eternity, piping or dancing or "like the gay fishes on the wave when the moon sucks up the dew." Merlin, who in the verses of Chrétien de Troyes was laid in the one tomb with dead lovers, is very near and the saints are far away. Believing too that crucifixion and resurrection were the soul's diary and no mere historical events, which had been transacted in vain should a man come again from the womb and forget his salvation, he could cleave to the heroic doctrine the angel in the crystal made Sir Thomas Kelly renounce and have a "vague memory" of having been "with Christ and Socrates"; and stirred as deeply by hill and tree as by human beauty, he saw all Merlin's people, spirits "of vegetable nature" and fairies whom we "call accident and chance." He made possible a religious life to those who had seen the painters and poets of the romantic movement succeed to theology, but the shepherd and the midwife had they known him would have celebrated him in stories, and turned away from his thought, understanding that he was upon an errand to their masters. Like Swedenborg he believed that heaven came from "an improvement of sensual enjoyment," for sight and hearing, taste and touch grow with the angelic years, but unlike him he could convey to others "enlarged and numerous senses," and the mass of men know instinctively they are safer with an abstract and an index.