William Blake was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form “what is in proportion to its merits the least read body of poetry in the English language”. His visual artistry led one contemporary art critic to proclaim him “far and away the greatest artist Britain has ever produced”. In 2002, Blake was placed at number 38 in the BBC’s poll of the 100 Greatest Britons. Although he lived in London his entire life (except for three years spent in Felpham), he produced a diverse and symbolically rich œuvre, which embraced the imagination as “the body of God” or “human existence itself“.
There can be no Good Will. Will is always Evil; it is persecution to others or selfishness.
Although Blake was considered mad by contemporaries for his idiosyncratic views, he is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterised as part of the Romantic movement and as “Pre-Romantic”. Reverent of the Bible but hostile to the Church of England (indeed, to almost all forms of organised religion), Blake was influenced by the ideals and ambitions of the French and American Revolutions. Though later he rejected many of these political beliefs, he maintained an amiable relationship with the political activist Thomas Paine; he was also influenced by thinkers such as Emanuel Swedenborg. Despite these known influences, the singularity of Blake’s work makes him difficult to classify. The 19th-century scholar William Rossetti characterised him as a “glorious luminary“, and “a man not forestalled by predecessors, nor to be classed with contemporaries, nor to be replaced by known or readily surmisable successors“.
From a young age, William Blake claimed to have seen visions. The first may have occurred as early as the age of four when, according to one anecdote, the young artist “saw God” when God “put his head to the window“, causing Blake to break into screaming. At the age of eight or ten in Peckham Rye, London, Blake claimed to have seen “a tree filled with angels, bright angelic wings bespangling every bough like stars.” According to Blake’s Victorian biographer Gilchrist, he returned home and reported the vision and only escaped being thrashed by his father for telling a lie through the intervention of his mother. Though all evidence suggests that his parents were largely supportive, his mother seems to have been especially so, and several of Blake’s early drawings and poems decorated the walls of her chamber. On another occasion, Blake watched haymakers at work, and thought he saw angelic figures walking among them.
What is most needed today is a fundamental theological thinking, one centered upon the Godhead itself, and centered upon that which is most challenging or most offensive in the Godhead, one which has truly been veiled in the modern world, except by our most revolutionary thinkers and visionaries.