Manoah’s Songs of Innocence

2018 ◽  
Author(s):  
Susan Mitchell Sommers
Keyword(s):  
William Blake ◽  
High Order ◽  
Songs Of Innocence

Recent investigations of Swedenborgians in London place them at the center of intricate and sometimes convoluted connections that tie Swedenborgians to what Al Gabay calls the “covert” Enlightenment—a complicated network of people of various walks of life who were also Swedenborgians, mesmerists, high-order illuminist freemasons, dabblers in alchemy, and spiritualists. With Manoah as an early New Church minister and active astrologer, and his brother Ebenezer an astrologer, alchemist, and freemason, they would seem to be a nexus for these related networks. Upon closer examination, this is unlikely for a variety of reasons. This chapter offers a revisionist look at Manoah’s centrality to the leadership and development of the New Church through its first fifty years, as well as suggesting that Manoah was largely responsible for New Church developments that famously alienated William Blake.

scholarly journals The Songs of Innocence-Blake’s Intuitive Flights into the Realm of the Absolute

IJOHMN ◽  
2018 ◽  
Vol 4 (5) ◽  
pp. 1-10
Author(s):  
Dr.B. Venkataramana
Keyword(s):  
Jesus Christ ◽  
William Wordsworth ◽  
William Blake ◽  
High Order ◽  
Public Acceptance ◽  
Human Society ◽  
The World ◽  
Philosophical Framework ◽  
The Absolute ◽  
Songs Of Innocence

Just like William Wordsworth who came a little later William Blake was known for an absolute sincerity, a mystic renunciation and a boldness of spirit. His originality and individuality, both of which were of a high order, came in the way of his public acceptance and acclaim. His drawings bear the stamp of a “characteristic and inimitable vision”. His poetry is marked by the utmost subtlety of symbolism and the skill with which it is sustained is truly matchless. The philosophical framework of his poetry is no more than a series of “intuitive flights into the realm of the absolute, soaring with tranquil and imperious assurance”. In Blake’s view the world of children, which is not contaminated by experience, is almost heavenly. In fact childhood is like a compensation for the loss of Eden. In the poems of Blake, the divine that is described is Jesus Christ who, even like human children, was a child once and spoke of the merciful and compassionate heavenly father, God. Children are free from cares and conflicts and always in a state of happiness and harmony with the human society around them and nature.

Patriquin, Donald (1938--)

2018 ◽  
Author(s):  
Jeremy Strachan
Keyword(s):  
Cultural Awareness ◽  
Henry David Thoreau ◽  
William Blake ◽  
Folk Songs ◽  
String Orchestra ◽  
Choral Repertoire ◽  
The World ◽  
Global Peace ◽  
Songs Of Innocence ◽  
Walden Pond

Donald Patriquin is a composer known chiefly for contributing to choral repertoire in Canada. Born in Sherbrooke, Quebec, he studied composition as a teenager with Jean Papineau-Couture, and later in Montreal with Istvan Anhalt, as well as in Toronto with John Weinzweig. Patriquin’s prolific catalogue of work includes expanded tonal settings of texts by Shakespeare (A Lover and His Lass, 1968), Henry David Thoreau (Reflections on Walden Pond for choir, violin, cello, and piano, 2000), and William Blake (Songs of Innocence for choirs, harp, and flute, 1984). His main compositional activities have focused on arranging folk songs from around the world, especially various regions of Canada. Representative of these are Six Songs of Early Canada (1980) and Six Noëls Anciens (1982), which are frequently performed. Patriquin’s many compositions for children’s choirs make use of non-lexical sounds in imitating the soundscape, drawing on the timbral, percussive, and expressive possibilities of voices. Of his non-vocal works, Hangman’s Reel for fiddle and string orchestra (1978), commissioned by the Grand Ballets Canadiens, remains one of the most significant, assembling jigs, reels, airs, and other vernacular dances into a thirty-minute suite. Issues of cultural awareness, humanitarianism, and global peace provide thematic foundations for Patriquin’s music around 1985.

William Blake and the Human Abstract

PMLA ◽  
1961 ◽  
Vol 76 (4-Part1) ◽  
pp. 373-379
Author(s):  
Robert F. Gleckner
Keyword(s):  
William Blake ◽  
Great Majority ◽  
Human Soul ◽  
Precise Nature ◽  
Organic Unity ◽  
Songs Of Experience ◽  
Songs Of Innocence

It is well-known that in Songs of Experience several of the poems are direct contraries to some of the Songs of Innocence, the precise nature of this opposition being reflected in the subtitle of the combined Songs of Innocence and of Experience: “Shewing the Two Contrary States of the Human Soul.” And Blake emphasized this essential organic unity of the contraries by giving four of the opposing poems identical titles: “Holy Thursday,” “The Chimney Sweeper,” “Nurse's Song,” and “A Cradle Song.” Occasionally he changed the title almost imperceptibly: “The Little Boy Lost” becomes “A Little Boy Lost,” “The Little Girl Lost” becomes “A Little Girl Lost,” and “The Divine Image” becames “A Divine Image.” The great majority of Songs of Experience, however, have either totally new titles or changes of the Songs of Innocence titles which make more explicit the nature of the opposition between the two states. Thus in the two introductory poems the piper yields to the bard, in others “The Lamb” becomes “The Tyger,” “The Blossom” becomes “The Sick Rose,” “The Ecchoing Green” becomes “The Garden of Love” or “London,” “The School Boy” becomes “The Little Vagabond,” and “The Divine Image” becomes “The Human Abstract.”

scholarly journals Blake’s Songs, Their Introductions and the Bible

2017 ◽  
Vol 7 (2) ◽  
pp. 43
Author(s):  
Chiramel Paul Jose
Keyword(s):  
Jesus Christ ◽  
William Blake ◽  
Human Form ◽  
The Bible ◽  
Religious System ◽  
Songs Of Experience ◽  
Songs Of Innocence ◽  
Great Code

Although William Blake was highly eclectic and drawing from multifarious sources, religious system, philosophical thoughts and traditions, the Bible was Blake’s most predominant concern. Throughout his life of meticulous and tedious composite art Blake aimed at decoding the Bible as the Great Code of Art for helping people to be imaginative and visionary like Jesus Christ. Both in his complex and sophisticated prophetic works, meant for the illuminated people, and in his deceptively simple lyrics of the Songs of Innocence and of Experience, meant for the rank and file of society, Blake did keep this up. The present study is an attempt to focus on this element, by delving deep into the texts and designs of the Introductions of Songs of Innocence as well as of Songs of Experience, inevitably considering the totality of Blake’s works and in the special context of their marked allegiance or affinity to the themes and symbols from the Bible. Blake visualized a blend of lamblike meekness and mildness with the ferocity of tigers of wrath for having the human form divine perfect. 

Myth and the creative imagination in The Book of Urizen

2012 ◽  
Vol 4 (2) ◽  
pp. 87-103
Author(s):  
Terence Dawson
Keyword(s):  
William Blake ◽  
Creative Imagination ◽  
Unconscious Processes ◽  
The Bible ◽  
Jungian Theory ◽  
Outer World ◽  
The Creation ◽  
Songs Of Innocence ◽  
Critical Interest

William Blake is best known and admired forSongs of Innocence and Experience. The same year as he completed it, he also published the earliest in his series of so-called ‘prophetic books’ that explore creation. Etched in double columns in imitation of the Bible,The First Book of Urizen(1794) is about the creation of earth, the first female, her son and his near sacrifice and what humankind lost when separated forever from Eternity. It tells of horrendous pain and disillusionment. Ever since the 1970s, critical interest in the work has been dominated by new historicist approaches that relate its interactions to events in the outer world of Blake's time. This article explores them as an expression of an autonomous process unfolding in hisinnerworld. Its objective is to show not only how Jungian theory helps to identify and follow its concerns and intrinsic logic, but also how Blake's work broadens our understanding of the nature of unconscious processes.

scholarly journals UMA ANÁLISE SEMIÓTICA DA OBRA VERBO-PICTÓRICA SONGS OF INNOCENCE AND OF EXPERIENCE, DE WILLIAM BLAKE

2013 ◽  
Vol 11 (1) ◽  
Author(s):  
Claudia Regina Rodrigues Calado
Keyword(s):  
William Blake ◽  
Charles Sanders Peirce ◽  
Songs Of Innocence

William Blake foi um poeta, gravador, ilustrador e pintor do século XVIII. Desenvolveu uma técnica de impressão original chamada de Illuminated Printing (impressão iluminada), através da qual gravava poemas e desenhos em uma mesma matriz de cobre. Fez uso desse método para imprimir suas principais obras, que tinham como inconfundível característica a união de verbo e imagem. Para que pudéssemos fazer uma análise mais aprofundada de como se deu, efetivamente, o entrelaçamento entre verbal e não-verbal em Songs of innocence and of Experience (a obra que escolhemos estudar), ou ainda, para que pudéssemos observar em que medida as palavras assumiram atributos imagéticos ou vice-versa, recorremos à teoria semiótica de Charles Sanders Peirce. A investigação semiótica abrange todas as áreas do conhecimento envolvidas com as linguagens ou sistemas de significação, portanto tem por objeto de investigação todos os códigos possíveis, estabelecendo ligações entre meios semióticos diferentes. Para nossa análise, levamos em consideração, predominantemente, a relação do signo com seu objeto, pois descobrimos uma tendência à iconicidade, à indicialidade e à simbolicidade na obra em questão.

Art and mythology of William Blake in the context of the "Dead Man" by Jim Jarmush.

2020 ◽  
Vol 4 (4) ◽  
Author(s):  
T.A. Dmitrieva ◽  
Keyword(s):  
Art History ◽  
William Blake ◽  
Common Features ◽  
History Analysis ◽  
The World ◽  
The Common ◽  
Songs Of Experience ◽  
Songs Of Innocence ◽  
Dead Man ◽  
The Universe

The presented article is devoted to the study of the image of creativity and mythology of William Blake in the film by J. Jarmusch "Dead Man". The author has carried out a detailed philosophical and art analysis of the film "Dead Man" and graphic works by William Blake, in particular, the series of engravings “Heads of Ghosts”, engravings “Ghost of the Flea” and “The Lost Boy”. The author also examined poetry and mythology in the work of William Blake based on the material of the works "The Marriage of Hell and Eden" (1973), "Songs of Innocence" (1789) and "Songs of Experience" (1973). Having conducted a comparative analysis of the works of W. Blake and the film by J. Jarmusch, the author revealed the similarities among the characters, mythology, plot and attitude in the movie "Dead" by J. Jarmusch and the works of W. Blake, interpreted the reason for citing the works of W. Blake in the movie "Dead Man" ... As a result, a conclusion was made about the commonality of the worldview attitudes of the work of J. Jarmusch "Dead Man" and the work of W. Blake. The article highlights the common features of the investigated works and the film: quotations from works of other authors, acquiring new meaning (citing the works of John Milton and Dante W. Blake correlates with the quotation of W. Blake in the film "Dead Man"); initiation motive; wandering motive; the idea of the wrongness of the world and the dualism of the universe. The author notes that the main artistic ideas of the works under consideration by William Blake are reflected in the film "Dead Man" by J. Jarmusch. In synthesis, they acquire a new meaning – the path of the soul to salvation through the overcoming of false ideas, vices, knowledge of the truth. This work uses the method of philosophical and art history analysis, developed by the Siberian art history school.

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