William Blake, Painter and Poet

by Richard Garnett

The tigers of wrath are wiser than the horses of instruction.

One law for the lion and ox is oppression.

The best wine is the oldest, the best water the newest.

These are not the scintillations of reason which may occasionally illumine the chaos of a madman’s brain, but bespeak a core of good sense quite inconsistent with general mental disturbance, though sufficiently compatible with delusion on particular subjects. With incomparable art, Shakespeare has imparted a touch of wildness to Hamlet’s shrewdest sayings; but Blake speaks rather as Polonius would have spoken if it had been possible for Polonius to speak in tropes.

FINAL PAGE FROM THE BOOK OF THEL.

From the difficult subject of the interpretation of Blake’s mystical designs we pass with satisfaction to the artistic qualities of the designs themselves. On this point there is an approximation to unanimity. To some the sublime, to others the grotesque, may seem to preponderate, but all will allow them to be among the most remarkable and original series of conceptions that ever emanated from a mortal brain. To whatever exceptions they may be liable, it enlarges one’s apprehension of the compass of human faculties to know that human faculties have been adequate to their production. They may be ranked with the most imaginative passages of Paradise Lost, and of Byron’s Cain as an endeavour of the mind to project itself beyond the visible and tangible, and to create for itself new worlds of grandeur and of gloom in height and abyss and interstellar space. Wonderful indeed is the range of imagination displayed, even though we cannot shut our eyes to some palpable repetitions. In the opinion, however, of even so sympathetic a critic as Dr. Wilkinson, Blake deserves censure for having degenerated into mere monstrosity. “Of the worst aspect of Blake’s genius,” he says, “it is painful to speak. In his Prophecies of America, his Visions of the Daughters of Albion, and a host of unpublished drawings, earth-born might has banished the heavenlier elements of art, and exists combined with all that is monstrous and diabolical. The effect of these delineations is greatly heightened by the antiquity which is engraven on the faces of those who do and suffer in them. We have the impression that we are looking down into the hells of the ancient people, the Anakim, the Nephilim, and the Rephaim. Their human forms are gigantic petrifactions, from which the fires of lust and intense selfish passion have long dissipated what was animal and vital, leaving stony limbs and countenances expressive of despair and stupid cruelty.” We, on the other hand, should rather criticise Blake for having failed to be as appalling as he meant to be. His power, as it seems to us, consisted rather in the vivid imagination than in the actual rendering of scenes of awe and horror. Far inferior artists have produced more thrilling effects of this sort with much simpler means. It would be wrong to say that his visions appear unreal, but they do appear at a remove from reality, a world seen through a glass darkly, its phantasm rather than its portrait. This, however, only applies to the inventions of Blake’s own brain, which, if we may judge by the moderate development of the back head in Deville’s cast, lacked the force of the animal propensities requisite for the portrayal of cruelty and horror. He could render the conceptions of others with startling force—witness the impressive delineation reproduced by us of the Architect of the Universe at work with his compasses; and the simple pencil outline of Nebuchadnezzar in Mr. Rossetti’s book, engraved by Gilchrist, where the human quadruped creeps away with an expression of overwhelming and horror-stricken dismay. This power of interpretation was to find yet finer expression in the illustration of the Book of Job.

Blake’s technical defects are indicated by Messrs. Ellis and Yeats as consisting mainly in imperfect treatment of the human form from want of anatomical knowledge. He had always disliked that close study of the life which alone could have made him an able draughtsman; it “obliterated” him, he said, and had resolved to quarrel with almost all the artists from whom he might have learned. It must be remembered in his excuse that consummate colouring and consummate draughtsmanship are seldom found associated. Those who may feel disappointed with the reproductions of Blake’s mystical designs must also remember that these are but shadows of the artist’s thought, which needed for its full effect the application of colour by his own hand. “Much,” says Dante Rossetti, “which seems unaccountably rugged and incomplete is softened by the sweet, liquid, rainbow tints of the coloured copies into mysterious brilliancy.” The effect thus obtained may perhaps be best shown by Mr. Gilchrist’s eloquent description of the illuminated drawings in Lord Crewe’s copy of America. “Turning over the leaves, it is sometimes like an increase of daylight in the retina, so fair and open is the effect of particular pages. The skies of sapphire, or gold, rayed with hues of sunset, against which stand out leaf or blossom, or pendent branch, gay with bright-plumaged birds; the strips of emerald sward below, gemmed with flower and lizard, and enamelled snake, refresh the eye continually. Some of the illustrations are of a more sombre kind. There is one in which a little corpse, white as snow, lies gleaming on the floor of a green over-arching cave, which close inspection proves to be a field of wheat, whose slender interlacing stalks, bowed by the full ear and by a gentle breeze, bend over the dead infant. The delicate network of stalks, which is carried up one side of the page, the main picture being at the bottom, and the subdued yet vivid green light shed over the whole, produce a lovely decorative effect. Decorative effect is, in fact, never lost sight of, even where the motive of the design is ghastly or terrible.” Whatever the imperfections of Blake’s peculiar sphere, it was his sphere, and probably the only department of art in which he could have obtained greatness even if his technical accomplishment had been as complete as it was the reverse. When painting on more orthodox lines he is often surprisingly tame and conventional. How remote he was from the inane when he could revel in his own conceptions may, notwithstanding the tremendous disadvantages inherent in reproduction, be judged from the illustrations to his mystical books selected for this monograph, the frontispiece and Plate IV. of Thel, and the two subjects from America.