Blake’s Jerusalem as Visionary Theatre: Entering the Divine Body By Susanne M. Sklar
William Blake was master of the ballad and aphorism as well as of boldly lined visual art. Yet the more complex and allusive words and designs of his mature ‘prophecies’ often confuse and defeat the reader attracted by his earlier Songs. The obscurity was deliberate on Blake’s part. ‘If the doors of...
| Main Author: | |
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| Format: | Electronic Review |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Oxford University Press
2013
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| In: |
The journal of theological studies
Year: 2013, Volume: 64, Issue: 1, Pages: 315-318 |
| Review of: | Blake's "Jerusalem" as visionary theatre (Oxford [u.a.] : Oxford Univ. Press, 2011) (Burdon, Christopher)
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| Further subjects: | B
Book review
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Volltext (JSTOR) Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a William Blake was master of the ballad and aphorism as well as of boldly lined visual art. Yet the more complex and allusive words and designs of his mature ‘prophecies’ often confuse and defeat the reader attracted by his earlier Songs. The obscurity was deliberate on Blake’s part. ‘If the doors of perception were cleansed everything would appear to man as it is: infinite’, he stated in his artistic manifesto The Marriage of Heaven and Hell; but, he continues, ‘man has closed himself up, till he sees all things thro’ narrow chinks of his cavern’. Blake’s aim was to explode that narrow conventional perception by art that ‘rouses the faculties to act’ and engages its readers in ‘mental fight’. | ||
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