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Essay / Research Paper Abstract
A 5 page analysis of the poetry of the eighteenth century poet, William Blake. The writer demonstrates how Blake's belief that opposition or 'contrary' forces promoted growth was an underlying metaphor in his work. Bibliography lists 4 sources.
Page Count:
5 pages (~225 words per page)
File: D0_90blake.rtf
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Unformatted sample text from the term paper:
where the traditional view of the dual nature of man tended to see things as strictly one way or the other?black or white. Blake firmly believed that it was from
the opposition of these two forces, the presence of "contraries," that resulted in growth and progression. In understanding Blakes meaning in the
"Marriage of Heaven and Hell," it is necessary to see it in the context of the Blakes era, which was the age of the Enlightenment in the late eighteenth century.
Among the literate classes of England by the end of the eighteenth century, belief in the existence of Satan had practically disappeared (Schock 441). As this occurred, Romantic writers and
artists adopted the myth of Satan as their own and developed Satan into an ideological symbol that had a broad range of functions (Schock 441). It was used primarily to
express rebellious or unconventional political, moral or religious values (Schock 441). This is not to say that Blakes use of the Satan myth was not wholly original. The
prose conclusion which ends the "Argument," which opens "Marriage" delivers a millenarian prophecy that identifies Christ, revolution and apocalypse and, in so doing, "satanizes" all three in a way that
is distinct from all other "political appropriations" of the myth (Schock 445). As a new heaven is begun, and it is now thirty-three
years since its advent: the Eternal Hell revives. And lo! Swedenborg is the Angel sitting at the tomb; his writings are the linen clothes folded up. Now
is the dominion of Edom, & the return of Adam into Paradise; see Isaiah XXXIV & XXXV Chap: (plate 3, 34)(Blake 36). This "satanic prophecy" ends by
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