The last note which Blake wrote on the margins of Swedenborg's Wisdom of Angels is this: 'Heaven and Hell are born together.' The edition which he annotated is that of 1788, and the marginalia, which are printed in Mr. Ellis's Real Blake, will show how attentive, as late as two years before the writing of the book which that note seems to anticipate, Blake had been to every shade of meaning in one whom he was to deny with such bitter mockery. But, even in these notes, Blake is attentive to one thing only, he is reaching after a confirmation of his own sense of a spiritual language in which man can converse with paradise and render the thoughts of angels. He comments on nothing else, he seems to read only to confirm his conviction; he is equally indifferent to Swedenborg's theology and to his concern with material things; his hells and heavens, 'uses,' and 'spiritual suns,' concern him only in so far as they help to make clearer and more precise his notion of the powers and activities of the spirit in man. To Blake, as he shows us in Milton, Swedenborg's worst error was not even that of 'systematic reasoning,' but that of:
'Showing the Transgressors in Hell: the proud
Warriors in Heaven:
Heaven as a Punisher and Hell as one under
Punishment.'
It is for this more than for any other error that Swedenborgs 'memorable relations' are tossed back to him as 'memorable fancies,' in a solemn parody of his own manner; that his mill and vault and cave are taken from him and used against him; and that one once conversant with his heaven, and now weary of it, 'walks among the fires of hell, delighted with the enjoyments of Genius, which to Angels look like torments and insanity.' Blake shows us the energy of virtue breaking the Ten Commandments, and declares: 'Jesus was all virtue, and acted from impulse, not from rules.' Speaking through 'the voice of the Devil,' he proclaims that 'Energy is eternal delight,' and that 'Everything that lives is holy.' And, in a last flaming paradox, still mocking the manner of the analyst of heaven and hell, he bids us: 'Note. This Angel, who is now become a Devil, is my particular friend: we often read the Bible together, in its infernal or diabolical sense, which the world shall have if they behave well. I have also the Bible of Hell, which the world shall have whether they will or no.' The Bible of Hell is no doubt the Bible of Blake's new gospel, in which contraries are equally true. We may piece it together out of many fragments, of which the first perhaps is the sentence standing by itself at the bottom of the page: 'One Law for the Lion and Ox is Oppression.'
The Marriage of Heaven and Hell is loud with 'the clangor of the Arrows of Intellect,' each of the 'Proverbs of Hell' is a jewel of concentrated wisdom, the whole book is Blake's clearest and most vital statement of his new, his reawakened belief; it contains, as I have intimated, all Nietzsche; yet something restless, disturbed, uncouth, has come violently into this mind and art, wrenching it beyond all known limits, or setting alight in it an illuminating, devouring, and unquenchable flame. In common with Swedenborg, Blake is a mystic who enters into no tradition, such as that tradition of the Catholic Church which has a liturgy awaiting dreams. For Saint John of the Cross and for Saint Teresa the words of the vision are already there, perfectly translating ecstasy into familiar speech; they have but to look and to speak. But to Blake, as to Swedenborg, no tradition is sufficiently a matter of literal belief to be at hand with its forms; new forms have to be made, and something of the crudity of Swedenborg comes over him in his rejection of the compromise of mortal imagery.
The Marriage of Heaven and Hell may be called or not called a Prophetic Book, in the strict sense; with The Visions of the Daughters of Albion, engraved at Lambeth in 1793, the series perhaps more literally begins. Here the fine masculine prose of The Marriage of Heaven and Hell has given place to a metre vaguer than the metre of The Book of Thel, and to a substance from which the savor has not yet gone of the Songs of Innocence, in such lines as:
'The new washed lamb tinged with the village smoke,
and the bright swan
By the red earth of our immortal river.'
It is Blake's book of love, and it defends the honesty of the natural passions with unslackenning ardor. There is no mythology in it, beyond a name or two, easily explicable. Oothoon, the virgin joy, oppressed by laws and cruelties of restraint and jealousy, vindicates her right to the freedom of innocence and to the instincts of infancy.
'And trees and birds and beasts and men behold their
eternal joy.
Arise, you little glancing wings, and sing your infant
joy:
Arise, and drink your bliss, for everything that lives
is holy!'
It is the gospel of The Marriage of Heaven and Hell, and, as that proclaimed liberty for the mind, so this, with abundant rhetoric, but with vehement conviction, proclaims liberty for the body. In form it is still clear, its eloquence and imagery are partly biblical, and have little suggestion of the manner of the later Prophetic Books.
America, written in the same year, in the same measure as the Visions of the Daughters of Albion, is the most vehement, wild, and whirling of all Blake's prophecies. It is a prophecy of revolution, and it takes the revolt of America against England both literally and symbolically, with names of 'Washington, Franklin, Paine and Warren, Gates, Hancock and Green,' side by side with Orc and the Angel of Albion; it preaches every form of bodily and spiritual liberty in the terms of contemporary events, Boston's Angel, London's Guardian, and the like, in the midst of cataclysms of all nature, fires and thunders temporal and eternal. The world for a time is given into the power of Orc, unrestrained desire, which is to bring freedom through revolution and the destroying of the bonds of good and evil. He is called 'Antichrist, Hater of Dignities, lover of wild rebellion, and transgressor of God's Law.' He is the Satan of The Marriage of Heaven and Hell, and he also proclaims: