On the skirt of a figure, rapid and “vehemently sweeping,” engraved underneath (recalling that vision of Dion made memorable by one of Wordsworth’s nobler poems) are inscribed these words—“The Voice of Abel’s Blood.” The fierce and strenuous flight of this figure is as the motion of one “whose feet are swift to shed blood,” and the dim face is full of hunger and sorrowful lust after revenge. The decorations are slight but not ineffective; wrought merely in black and white. This small prose lyric has a value beyond the value of its occasional beauty and force of form; it is a brief comprehensible expression of Blake’s faith seen from its two leading sides; belief in vision and belief in mercy. Into the singular mood of mind which made him inscribe it to the least imaginative of all serious poets we need by no means strive to enter; but in the trustful admiration and the loyal goodwill which this quaint inscription seems to imply, there must be something not merely laughable: as, however rough and homespun the veil of eccentric speech may seem to us at first, we soon find it interwoven with threads of such fair and fervent colour as make the stuff of splendid verse; so, beyond all apparent aberrations of relaxed thought which offend us at each turn, a purpose not ignoble and a sense not valueless become manifest to those who will see them.
Here then the scroll of prophecy is finally wound up; and those who have cared to unroll and decipher it by such light as we can attain or afford may now look back across the tempest and tumult, and pass sentence, according to their pleasure or capacity, on the message delivered from this cloudy and noisy tabernacle. The complete and exalted figure of Blake cannot be seen in full by those who avert their eyes, smarting and blinking, from the frequent smoke and sudden flame. Others will see more clearly, as they look more sharply, the radical sanity and coherence of the mind which put forth its shoots of thought and faith in ways so strange, at such strange times. Faith incredible and love invisible to most men were alone the springs of this turbid and sonorous stream. In Blake, above all other men, the moral and the imaginative senses were so fused together as to compose the final artistic form. No man’s fancy, in that age, flew so far and so high on so sure a wing. No man’s mind, in that generation, dived so deep or gazed so long after the chance of human redemption. To serve art and to love liberty seemed to him the two things (if indeed they were not one thing) worth a man’s life and work; and no servant was ever trustier, no lover more constant than he. Knowing that without liberty there can be no loyalty, he did not fear, whether in his work or his life, to challenge and to deride the misconstruction of the foolish and the fraudulent. It does not appear that he was ever at the pains to refute any senseless and rootless lie that may have floated up during his life on the muddy waters of rumour, or drifted from hand to hand and mouth to mouth along the putrescent weed-beds of tradition. Many such lies, I am told, were then set afloat, and have not all as yet gone down. One at least of these may here be swept once for all out of our way. Mr. Linnell, the truest friend of Blake’s age and genius, has assured me—and has expressed a wish that I should make public his assurance—that the legend of Blake and his wife, sitting as Adam and Eve in their garden, is simply a legend—to those who knew them, repulsive and absurd; based probably, if on any foundation at all, on some rough and rapid expression of Blake’s in the heat and flush of friendly talk, to the effect (it may be) that such a thing, if one chose to do it, would be in itself innocent and righteous,—wrong or strange only in the eyes of a world whose views and whose deeds were strange and wrong. So far Blake would probably have gone; and so far his commentators need not fear to go. But one thing does certainly seem to me loathsome and condemnable; the imputation of such a charge as has been brought against Blake on this matter, without ground and without excuse. The oral flux of fools, being as it is a tertian or quotidian malady or ague of the tongue among their kind, may deserve pity or may not, but does assuredly demand rigid medical treatment. The words or thoughts of a free thinker and a free speaker, falling upon rather than into the ear of a servile and supine fool, will probably in all times bring forth such fruit as this. By way of solace or compensation for the folly which he half perceives and half admits, the fool must be allowed his little jest and his little lie. Only when it passes into tradition and threatens to endure, is it worth while to set foot on it. It seems that Blake never cared to do this good office for himself; and in effect it can only seem worth doing on rare occasions to any workman who respects his work. This contempt, in itself noble and rational, became injurious when applied to the direct service of things in hand. Confidence in future friends, and contempt of present foes, may have induced him to leave his highest achievements impalpable and obscure. Their scope is as wide and as high as heaven, but not as clear; clouds involve and rains inundate the fitful and stormy space of air through which he spreads and plies an indefatigable wing. There can be few books in the world like these; I can remember one poet only whose work seems to me the same or similar in kind; a poet as vast in aim, as daring in detail, as unlike others, as coherent to himself, as strange without and as sane within. The points of contact and sides of likeness between William Blake and Walt Whitman are so many and so grave, as to afford some ground of reason to those who preach the transition of souls or transfusion of spirits. The great American is not a more passionate preacher of sexual or political freedom than the English artist. To each the imperishable form of a possible and universal Republic is equally requisite and adorable as the temporal and spiritual queen of ages as of men. To each all sides and shapes of life are alike acceptable or endurable. From the fresh free ground of either workman nothing is excluded that is not exclusive. The words of either strike deep and run wide and soar high. They are both full of faith and passion, competent to love and to loathe, capable of contempt and of worship. Both are spiritual, and both democratic; both by their works recall, even to so untaught and tentative a student as I am, the fragments vouchsafed to us of the Pantheistic poetry of the East. Their casual audacities of expression or speculation are in effect wellnigh identical. Their outlooks and theories are evidently the same on all points of intellectual and social life. The divine devotion and selfless love which make men martyrs and prophets are alike visible and palpable in each. It is no secret now, but a matter of public knowledge, that both these men, being poor in the sight and the sense of the world, have given what they had of time or of money, of labour or of love, to comfort and support all the suffering and sick, all the afflicted and misused, whom they had the chance or the right to succour and to serve. The noble and gentle labours of the one are known to those who live in his time; the similar deeds of the other deserve and demand a late recognition. No man so poor and so obscure as Blake appeared in the eyes of his generation ever did more good works in a more noble and simple spirit. It seems that in each of these men at their birth pity and passion, and relief and redress of wrong, became incarnate and innate. That may well be said of the one which was said of the other: that “he looks like a man.” And in externals and details the work of these two constantly and inevitably coheres and coincides. A sound as of a sweeping wind; a prospect as over dawning continents at the fiery instant of a sudden sunrise; a splendour now of stars and now of storms; an expanse and exultation of wing across strange spaces of air and above shoreless stretches of sea; a resolute and reflective love of liberty in all times and in all things where it should be; a depth of sympathy and a height of scorn which complete and explain each other, as tender and as bitter as Dante’s; a power, intense and infallible, of pictorial concentration and absorption, most rare when combined with the sense and the enjoyment of the widest and the highest things; an exquisite and lyrical excellence of form when the subject is well in keeping with the poet’s tone of spirit; a strength and security of touch in small sweet sketches of colour and outline, which bring before the eyes of their student a clear glimpse of the thing designed—some little inlet of sky lighted by moon or star, some dim reach of windy water or gentle growth of meadow-land or wood; these are qualities common to the work of either. Had we place or time or wish to touch on their shortcomings and errors, it might be shown that these too are nearly akin; that their poetry has at once the melody and the laxity of a fitful storm-wind; that, being oceanic, it is troubled with violent groundswells and sudden perils of ebb and reflux, of shoal and reef, perplexing to the swimmer or the sailor; in a word, that it partakes the powers and the faults of elemental and eternal things; that it is at times noisy and barren and loose, rootless and fruitless and informal; and is in the main fruitful and delightful and noble, a necessary part of the divine mechanism of things. Any work or art of which this cannot be said is superfluous and perishable, whatever of grace or charm it may possess or assume. Whitman has seldom struck a note of thought and speech so just and so profound as Blake has now and then touched upon; but his work is generally more frank and fresh, smelling of sweeter air, and readier to expound or expose its message, than this of the prophetic books. Nor is there among these any poem or passage of equal length so faultless and so noble as his “Voice out of the Sea,” or as his dirge over President Lincoln—the most sweet and sonorous nocturn ever chanted in the church of the world. But in breadth of outline and charm of colour, these poems recall the work of Blake; and to neither poet can a higher tribute of honest praise be paid than this.
We have now done what in us lay to help the works of a great man on their way towards that due appreciation and that high honour of which in the end they will not fail. Much, it need not be repeated, has been done for them of late, and admirably done; much also we have found to do, and have been compelled to leave undone still more. If it should now appear to any reader that too much has been made of slight things, or too little said of grave errors, this must be taken well into account: that praise enough has not as yet been given, and blame enough can always be had for the asking; that when full honour has been done and full thanks rendered to those who have done great things, then and then only will it be no longer an untimely and unseemly labour to map out and mark down their shortcomings for the profit or the pleasure of their inferiors and our own; that however pleasant for common palates and feeble fingers it may be to nibble and pick holes, it is not only more profitable but should be more delightful for all who desire or who strive after any excellence of mind or of achievement to do homage wherever it may be due; to let nothing great pass unsaluted or unenjoyed; but as often as we look backwards among past days and dead generations, with glad and ready reverence to answer the noble summons—“Let us now praise famous men, and our fathers who were before us.” Those who refuse them that are none of their sons; and among all these “famous men, and our fathers,” no names seem to demand our praise so loudly as theirs who while alive had to dispense with the thanksgiving of men. To them doubtless, it may be said, this is now more than ever indifferent; but to us it had better not be so. And especially in the works and in the life of Blake there is so strong and special a charm for those to whom the higher ways of work are not sealed ways that none will fear to be too grudging of blame or too liberal of praise. A more noble memory is hardly left us; and it is not for his sake that we should contend to do him honour.
THE END.
BRADBURY, EVANS, AND CO., PRINTERS, WHITEFRIARS.
NEW BOOKS
PUBLISHED BY
JOHN CAMDEN HOTTEN,
74 & 75, PICCADILLY, LONDON, W.
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