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Blake’s Dialectical Vision
Chung-hsuan Tung
Reprinted from Journal of The College of Liberal Arts
National Chung Hsing University
Vol 27, pp 193~211, June, 1997
Blake’s Dialectical Vision
William Blake (1757-1827) is generally considered the first important figure among “the visionary company” that advanced the English Romantic Movement. His importance in this respect is largely due to the fact that as a true Romantic he upheld the value of vision and expressed his own particular vision of the universe compellingly in his works. Today, therefore, much scholarship has been devoted to the study of Blake’s visionary works in connection with his notion of vision. However, have we fully realized the nature of his particular vision? Owing partly to the difficulty of his mythical system, perhaps, the majority of his readers seem to be still groping for light in the dark corner of his vision.
A vision is a particular experience in which a personage, thing, or event appears vividly or credibly to the mind, although not actually present, under the influence of a divine or other agency. Almost all Romantic writers, including Rousseau, Wordsworth, Shelly, Keats, Hugo, etc., have had visions of one sort or another. Actually, many writers, like William Langland (the hypothetical author of Piers Plowman), have claimed that certain works of theirs are based entirely on visions. It is said that at the age of four Blake once envisioned the face of God pressed against the window, and by the time he was eight the occurrence of visions had become habitual to him. Blake’s visionary faculties, as critics may agree, naturally found expression in his art theories and practices.
Blake makes his fullest, though somewhat cryptic, remarks on vision in his essay titled “A Vision of the Last Judgment.” Therein he says, “The Last Judgment is not Fable or Allegory but Vision.” Then he goes on to explain:
Fable or Allegory are a totally distinct infer
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