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• W110374559 abstract "One of the most problematical aspects of The Marriage of Heaven and is the term How are we to interpret it? In the biblical context of two becoming flesh,(1) or in the more modem context of two joined in equal harmony? The statement Without Contraries is no progression. Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to Human Existence (34), implies that both contraries are important, and therefore, the reading of would be the more appropriate. However, throughout the work the heavenly contrary, represented by the angel, is completely dominated by the hellish contrary, represented by the devil, and at the end the reader does not witness a true modern between these two, for the Angel, we are told, is consumed and becomes a Devil: When he had so spoken: I beheld the Angel who stretched out his arms embracing the flame of fire & he was consumed and arose as Elijah. Note. This Angel, who is now become a Devil, is my particular friend: we often read the Bible together in its infernal or diabolical sense which the world shall have if they behave well. (43-44) The transformation of the angel into a devil suggests a biblical meaning of in which two become flesh. In the light of this, Harold Bloom's statement that heaven and hell are to be married but without becoming altogether flesh or family (57) seems to completely ignore what actually happens at the end of The Marriage. This difficulty surrounding the term has evoked two responses from scholars. The first is to make light of the term marriage. Bloom argues, By the 'marriage' of contraries means only that we are to cease valuing contrary above the other in any (57). And Erdman states that Blake was half in jest when he spoke of the 'marriage' of Heaven and Hell (Prophet 178). Neither scholar is happy with interpreting as a partnership in which partner is controlled and dominated by the other, even though the transformation of the angel into a devil seems to suggest this; consequently, both critics seem to make light of what happens at the end of the work. The second response not only involves ignoring the possible biblical context of the term, but also interpreting in a context of two joined in equal harmony and then arguing that the transformation of the angel is a major flaw in the work. Joseph Wittreich, for example, argues: Yet Blake's title promises a marriage, and the theme is reinforced by the doctrine of contraries introduced on plate 3; but even so the angel is an incidental figure in the prophecy--one not acting but being acted upon, whose perspective, rather than being developed as a contrary to the Devil's is annihilated in the marriage that occurs at the end of the prophecy when Angel and Devil meet in an embrace. (198) This one-sidedness leads Wittreich to make the criticism that while The Marriage is a brilliantly experimental work, it may not be, artistically, a wholly successful one (198). The problem is that while The Marriage attacks the orthodox position by arguing that is important and necessary, it also seems to argue that evil (in the context of The Marriage this would be the angel) has to be transformed into good. Consequently the angel, at the end, becomes a devil. One obvious way to attack the orthodox position regarding good and would have been to give equal importance to the angel and the devil (as Wittreich wishes), and then end the work with them walking hand and hand into the sunset. That chose not to do this has proven very problematic for readers of The Marriage. If sees in the biblical context of partner dominating the other then has not really retrieved from the exclusionary position to which orthodoxy has condemned it. On the other hand, if is seen as a joining of equality then we have to agree with Wittreich and argue that the work is, artistically, unsuccessful, as we do not witness a of equality. …" @default.
• W110374559 created "2016-06-24" @default.
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• W110374559 date "1994-03-22" @default.
• W110374559 modified "2023-09-23" @default.
• W110374559 title "The Context of Blakean Contraries in 'The Marriage of Heaven and Hell.'" @default.
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