Wednesday, 9 May 2007

blake's infinite geography

METATEXT 6 research

i want to start by repeating a few lines from an earlier blog..................

....these few lines are aimed at dissertation committed students. you require the most advanced hypothesis as a start in order to make a scholarly contribution......................................however, these two studies offers many new careers in BA MA and PhD re-evaluations of the last twenty years of 'critical concrete'. currently set in terms of a 'fractal', 'plotless' and 'impenetrable' Blake, readers now can understand Blake as a genius of plot construction, with all that is implied therein.

In my view it is incorrect, even misleading to begin with the post-1984 (and current) critical dead-end and obsolete premise that Blake's The Four Zoas and Jerusalem are 'plotless'. It seems to me that it is also the case that the various theories of composition in the few full-length studies of The Four Zoas that are completed need to be re-considered in the light of the research on Blake's plot available here, ironically completed but it seems entirely unconsidered, before any of them published. In short, i believe if research students write a textual analysis of Blake's myth, narrative structure, trinitarian beliefs, idea of nature or time, symbolism, one-fold, two-fold, three-fold and for-fold vision, his idea of art and the human form Divine, his characters, plots or theory of composition without benefit of these two studies, their supervisors may have wasted their fees.

the next point develops Blake's multiple finite and infinite narrative perspectives, and the centre, circumference, zenith, nadir referents as in the previous comment.

Blake's angle of vision or his way of seeing is critical in explaining The Four Zoas. a major and original contribution to the field is my analysis of Blake's the two concomitant geographical sets; the finite and the infinite. therein lies Blake's idea of nature. the two sets are best outlined in the beginning of Night the Sixth, in ..., Chapter VIII .... the zoas and emanations think they move in compass directions (just as in our actual world). they move as we believe we do, north to the pole, or south through the equator to the pole, or west to go round or east to go the other way. That is Blake's two-fold vision. for Blake's two sets of finite and infinite geography to be visualised in such a configuration, the zoas and emanations are to be visualised as actually moving from the nadir to the zenith, or from circumference to the centre. That is Blake's three-fold vision and it includes two-fold vision as an easily seen, plainly visualised, contingent sub-set.

for example in Night the Sixth, Urizen thinks he moves through the compass points, in fact, he begins at the circumference and ends at the centre looking outward in all directions. then, blind to three-fold and four-fold vision, he fixes his vortices in the deep. Thus, to review, and to clearly describe Blake's visionary logic, we see Urizen's two-fold vision within this perspective of three-fold vision. Christ's descent within and the reconciliation of 'within and without' is Blake's four-fold vision and both other kinds of seeing are sub-sets and are subsumed in Christ. Blake's Jerusalem, Plates 94-100 gives Blake's poetic vision of this four-fold consciousness, that begins with the end of the circle of time/space of Albion's collapsed interiority: "Time was Finished! The Breath Divine Breathed over Albion" (4: 94; 18). Thus, Christ re-awakens Albion.