William Blake

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“Blake stands out among the mystic poets of Europe. His occasional obscurity, — he is more often in his best poems lucid and crystal clear, — is due to his writing of things that are not familiar to the physical mind and writing them with fidelity instead of accommodating them to the latter. In reading such writing the inner being has to feel first, then only the mind can catch what is behind.”[1]


“If you are right in maintaining that Savitri stands as a new mystical poetry with a new vision and expression of things, we should expect, at least at first, a widespread, perhaps, a general failure even in lovers of poetry to understand it or appreciate; even those who have some mystical turn or spiritual experience are likely to pass it by if it is a different turn from theirs or outside their range of experience. It took the world something like a hundred years to discover Blake; it would not be improbable that there might be a greater time-lag here, though naturally we hope for better things.”[2]


“The Vedas are the most enigmatic book in the world and nobody has the least idea what they mean; they out-Blake Blake all together.”[3]


“If Wordsworth and Byron failed by an excess of the alloy of untransmuted intellect in their work, two other poets of the time, Blake and Coleridge, miss the highest greatness they might otherwise have attained by an opposite defect, by want of the gravity and enduring substance which force of thought gives to the poetical inspiration. They are, Coleridge in his scanty best work, Blake almost always, strong in sight, but are unable to command the weight and power in the utterance which arises from the thinking mind when it is illumined and able to lay hold on and express the reality behind the idea. They have the faculty of revelatory sense in a high degree, but little of the revelatory thought which should go with it; or at least though they can suggest this sometimes with the intense force which comes from spiritual feeling, they cannot command it and constantly give it greatness and distinctness of body. And their sight is only of the middle kind; it is not the highest things they see, but only those of a borderland or middle region. Their poetry has a strange and unique quality and charm, but it stops short of something which would have made it supreme. They are poets of the supernatural and of such spiritual truth as may be shadowed by it or penetrate through it, but not of the greatest truths of the spirit. And this supernature remains in them a thing seen indeed and objectively real, but abnormal; but it is only when supernature becomes normal to the inner experience that it can be turned into material of the very greatest poetry.”[4]


“Blake’s seeing teems with images of this other world, he hears around him the echoes of its sounds and voices. He is not only a seer, but almost an inhabitant of other planes, another domain of being; or at least this second subtle sight is his normal sight. His power of expression is akin in its strangeness to his eye of vision. His speech like his seeing has a singular other-world clarity and sheerness of expression in it, the light of supernature. When he prophetises as in some of his more ambitious efforts, he mentalises too much the mystic and misses the marvel and the magic. It is when he casts into some echo of the language of the luminous children of those shores the songs of their childhood and their innocence, that he becomes limpid to us and sheds upon our earth some clear charm, felicity, wonder of a half divine otherwhere. Here again we have something unique, a voice of things which had not been heard before nor has it been heard since; for the Celtic poets who sometimes give us something that is in its source akin, bring a ripe reflective knowledge and a colour of intellectuality into their speech and vision, but Blake seeks to put away from him as much as possible the intellectual mind, to see only and sing.”[5]




  1. Letters on Poetry and Art, p.376
  2. Ibid., p.355
  3. Ibid., p.253
  4. The Future Poetry, p.138
  5. Ibid., p.140


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