William Blake's Vision: Art, Symbolism, and Biblical Interpretations

William Blake: Romantic Poet and Visionary Artist

William Blake (1757-1827) was a prominent Romantic poet and artist. (Note: The original discussion also referenced *Blackadder* series: Middle Ages, Renaissance, Regency, Great Europe.)

Blake's unique perception of God challenged conventional views, portraying a deity that was not always perfect. His work often delves into profound spiritual concepts, as seen in his *Proverbs of Hell*, where the voice of the Devil speaks (p.105).

Blake's "Elohim Creating Adam"

Blake's interpretation of creation, influenced by the *King James Bible* (published 1611), is depicted in his non-realistic painting, characterized by symbolic elements like the sun, planets, clouds, and sunlight. The presence of the snake suggests humanity was created with an inherent evil side, a concept considered heresy as biblical tradition attributes evil to the Devil's influence. Blake consistently sought out and emphasized the more enigmatic and symbolic aspects of biblical narratives. The figures' facial expressions convey pain.

Biblical Interpretations: Sodom and Lot

Blake's art also depicts figures escaping the city of Sodom, portrayed as separated from God due to its wickedness, including references to homosexuality (Sodomites). The impending destruction of the city is central, with the command to 'leave the city and never look back' (a parallel drawn with the myth of Orpheus and Eurydice). Notes on perceived misogyny in biblical narratives are exemplified by Lot's daughters removing their father's clothes to procreate with him.

Blake's "Moses in the Bulrushes"

Blake consistently engaged with the darker, more challenging narratives of the Bible. The scene depicts Moses in a basket, with pyramids in the background. Moses is shown naked, and his sister observes the basket's journey, rich with symbolism. Despite its symbolic depth, this painting is noted for its realistic portrayal of Pharaoh's daughter and Moses. Blake is often considered a foundational figure in Symbolism.

"The Road to Damascus" and Unfinished Works

In his depiction of "The Road to Damascus," Saul (later Paul) is shown seeking Christians to persecute until he experienced a divine revelation. The scene includes God, the Son, angels, and divine energy (fire), with soldiers lying prostrate alongside Saul. This work was intended as a cover for a Bible Blake never completed. Notably, in his Genesis illustrations, Jesus Christ's body sometimes resembles that of a woman.

Illustrating John Milton's "Paradise Lost"

Blake created 12 illustrations for John Milton's *Paradise Lost* (1660), while Gustave Doré (1832-1883) produced 32 illustrations.

First Canto: Satan's Awakening

In Blake's illustration for the First Canto, Satan awakens in Hell, consumed by a desire for revenge, amidst the construction of Pandemonium. The human figures are depicted with a realism reminiscent of Greek sculpture, contrasting with the non-realistic setting. Flames are prominent, serving as symbolism, contributing to a dramatic atmosphere. Satan is depicted naked, his form, including genitals, presented as beautiful, echoing earlier portrayals.

Doré's Approach to "Paradise Lost"

Blake's works typically lack a signature. However, Doré's illustrations often bear his signature or inscription at the bottom. Doré's style is generally more realistic than Blake's, though still possessing an oniric (dreamlike) atmosphere, characteristic of Romanticism.

The Palace of Pandemonium

The Palace of Pandemonium is depicted with Egyptian columns. In Blake's "Satan at the Gates of Hell," Death and Sin are present. The scene features prominent gates and flames. Blake created multiple versions, with Death often depicted as almost transparent.

Hogarth's Influence and Blake's Engravings

Reference is made to a skeleton, possibly from William Hogarth's *The Beggar's Opera*. Blake notably created engravings for Hogarth, demonstrating his versatility across various artistic registers.

Blake's Symbolic Depictions

Blake's work often features symbolic elements like the almond shape (mandorla) and the womb, with compositions including figures such as God the Father, God the Son, Satan, and angels. God the Father is depicted embracing God the Son in a loving manner. Satan is portrayed as jealous, with his form and beauty, including his genitals, taking on reptilian or serpentine characteristics. (Original note: 'Envy turns you into an abject being.') Blake's approach is notably more symbolic than Doré's.

Doré's "Satan Falling to Hell"

Doré's depiction of Satan falling to Hell is set within a characteristic Romantic landscape.

Blake's "Angel Sent to Warn Adam"

Blake's version features Adam and Eve, favored by God, contrasted with Satan and the snake, symbolizing jealousy. The angel is depicted within a womb-like form.

Doré's "Angel Sent to Warn Adam"

Doré's version emphasizes themes of harmony and the interplay between good and evil.

Key Symbolism in Blake's Art

Recurring symbols in Blake's work include the sun, moon, and flames. Blake's concept of man and woman as one complete entity is exemplified in depictions like Adam and Eve's face-to-face kiss (referenced on page 106, line 30).

Themes of restriction of desire, the pervasive nature of love, and fruits symbolizing sensuality are explored. *Paradise Lost* is an epic poem, and Blake incorporates classic epic elements such as the invocation of the muse and battles, alongside Gothic elements. Further symbolic motifs include trees, birds of paradise, lions, elephants, and the almond shape. The narrative is also interpreted by Doré. The battle between demons and angels, and the portrayal of good and fallen angels, are central. While Doré's depictions are often almost realistic, Blake's are distinctly non-realistic. Blake frequently places fallen and good angels within a circle, symbolizing divine energy, emphasizing the sun's importance as an energy source.