Blake’s feelings towards Milton had always been divided. He saw in him the highest order of poetic genius, but also, ominously present, the spirit of reason (Urizen) enthroned in the wrong place, and a servile love of the classics that placed him under the heel of the Daughters of Memory. To change the metaphor, Milton’s Pegasus was ridden by Urizen.
Blake’s final criticism of Swedenborg was that he drew the line in the wrong place between heaven and hell; and his amendment was to take his two contraries and marry them. From that time forward his first question in trying a man’s religion was, Where do you draw the line? Popular religion always draws it in the wrong place. Good things are reckoned evil and evil things good. But as Blake continued to put his question to the world’s great spirits, he counted twenty-seven different answers that had produced twenty-seven different churches, each church having its own particular heaven and corresponding hell. He had hoped to unite all these contraries as successfully as he had Swedenborg’s; but when he came to Christ’s division, finding that nothing would unite His sheep and goats, and His wheat and tares, he henceforth took Christ’s dividing line as absolute, and the line of any other as right only when it coincided with Christ’s.
Applying this test to Milton, Blake saw that he wrongly divided heaven and hell, and that this fatal mistake necessarily affected the characters of his Messiah and Satan. Messiah, who should have stood for the supreme poetic genius, was the embodiment of restrictive reason, and Satan, who by immemorial tradition is absolute evil, was endowed with a marvellous imagination that inevitably brought with it certain virtues. When Blake inquired for the root cause of this perversion in Milton, he traced it to the fact that Reason had largely usurped the place of Imagination. He then took one more customary step. He set Milton in his imagination in the light of the eternal order. Seen in this perspective, the prime fact about him appeared that he had fallen in his encounter with Urizen and come under his dominion, and the last was that his redemption would be effected only by going down into self-annihilation and death with Christ, and then rising again with the life of pure imagination. Once imagination (Los) is supreme, then reason (Urizen) falls into his proper place, and the return into the eternal order is accomplished.
During Blake’s stay at Felpham, Milton was continually present in the minds of both himself and Hayley. Hence he was for Blake an actual person in the Felpham drama, Mr and Mrs Blake and Hayley being with him the chief characters, and Skofield and his confederates the rabble. Then passing, as in The French Revolution, from actual persons and events to the unseen things of which they were the temporal manifestation, Blake saw each person in his eternal state, and as a symbol of that state, and he lost sight of the earthly puppets, as they were merged into their monstrous and eternal counterparts. The transition made, the poem is no longer intelligible to the corporeal understanding, and Hayley might read it a hundred times without suspecting that he was the villain of the piece.
The characters are Los, Urizen, Palamabron and Rintrah, sons of Los, Satan, and Skofield, who keeps his own name. Satan for a time is Hayley, Palamabron by turns Blake and Wesley, Rintrah, Whitefield. This is a seemingly harsh judgment of poor Hayley, akin to Michael Angelo’s treatment of Biagio da Cesena; but the harshness is humorously softened when Satan is discovered decked with half the graces. He is kind, meek, humble, and complains gently when his kindness fails to call forth gratitude. He is the personification of Hayley’s virtues, which together make up (hypocritic) holiness.
Blake had made the startling discovery, which Nietzsche has popularized in our time, that the graces in wrong places are vices. Nietzsche went on to make the absurd assertions that humility and pity are the virtues of the herd and are never right in any place. Blake believed that the graces coupled with insight and understanding took on a new quality which made them divine.
To give examples: Blake, while submissive to Hayley, was humble, but at the risk of his birthright.
Hayley, exerting himself to find rich neighbours to sit for Blake to paint in miniature, was kind, but he was suffocating his genius.
To the scribes and Pharisees, Christ meek would have been Christ weak.
Modesty in one who does not know that all things that live are holy is prudery.