As has been pointed out in both section and lecture, the contrast between the static and the dynamic is an important theme in this work. Blake shows a clear preference for the latter in his strong advocacy for energy (on Plate 4 he writes, "Energy is the only life... Energy is Eternal Delight."). This viewpoint is visible in his accompanying artwork: on the front cover, the barren, still landscape in the top section is easily overshadowed by the vibrancy and motion of the lower, which depicts interaction. The artwork on the inside plates continues to swirl with the same sort of colorful lines.
It is interesting, therefore, to explore how the dynamism of Blake's art reinforces and/or contradicts traditional Romanticism and his own personal philosophy. For instance, the figure on Plate 21 automatically recalls (at least for me) the Friedrich painting we looked at in lecture in its depiction of a solitary man dwarfed by the power of the cosmos. At first glance, the image seems to dovetail perfectly with the Romantic principle that man is not the center of the universe. The figure's upturned face shifts our attention away from him and towards the light source in the corner, suggesting that the most important element in the scene is not the central figure but what lies just outside the frame.
But Blake's work differs from many Romantic paintings in its palpable energy. While the figure in the Friedrich stands calmly at the brink of the abyss, still and passive, Blake's figure is tense and full of barely-restrained motion. Is it possible to see in this depiction support for the idea that Blake may not entirely agree with the Romantic notion of man's insignificance in the world? Instead, one can argue, he believes in the importance of man's involvement and emphasizes the necessity of remaining engaged - actively utilizing human creative energy - rather than passively accepting knowledge from some higher source. It is the dynamic motion of the figure, after all, that forms the center of the image - it is man that turns his head and takes the initiative to understand. Can we reconcile Blake's association with the Romantic movement with this firm belief in a human's power to affect change in the world?
Great post Willa, I definitely see what you mean about the central theme of the scene in Plate 21 being outside the frame. As for reconciling Blake with Romanticism and man's power to change the world, I think he believes we have great potential, but we just need to not be too arrogant. He definitely has shown that he believes human's have wonderful abilities, but the text on Plate 21 issues a warning. This, combined with the illustration are meant to inform us that although we do have great potential, we're not wiser than everyone else, or have the right to tell others what to do. The man in the painting, as Willa said is ready to move, but there is still a higher power he looks up to. Blake brings in the Romantic ideals of man not being the center of the universe, while still maintaining his optimisim for human abilities.
ReplyDeleteAnd all the dynamic movements of the bodies and flourished of the pen in the plates are natural; the bodies are in their original naked form, dancing and acting freely without societal restraint. I agree that many Romantic paintings, including Friedrich's and the image on Plate 21, do emphasize nature dwarfing man and act as a warning, but Blake is in a way more of a Romantic by Daub's definition than the painters. He incorporates the enlightenment ideal of humanism with the man not being the center of the universe and celebrates both in excess. Plates 24 and 16 also include images that seem to belittle man, while most of the miniature sketches celebrate humanity.
ReplyDeleteAs you said, Willa, the figure shown on Plate 21 as well as other figures throughout the work (Plates 14 and 24) appears tense. This suggests that the figures are struggling internally and physically restraining themselves. The figure on Plate 21’s face appears questioning; it is as if he is asking God or some higher power for permission to heed his desires, permission to act. Perhaps Blake is suggesting through this image, that the figure does not need permission from God, or from anyone. He should go after what he wants and spare himself the tension and stress associated with resistance.
ReplyDeleteWhile the images may raise some objections about Blake’s romantic views, to me it seems clear that Blake emphasizes the ideas of individualism, imagination, and irrationality as well. The man in Plate 21 seems to have his hands tied behind his back, unable to break freely and thus only having a slim and partial view of the top. While the image highlights the lone subject idea of romanticism, I believe it also conveys Blake’s feeling toward enlightenment ideas about reason, and authoritative laws that everyone must follow. The prisonlike state the man is in shows the opposite of what Blake wants, which is in fact an individualistic state where original, self-contained ideas can be exerted without any dominating principles or institutions. Concerning Blake’s belief to change to world seems to be a less important subject, rather than his association with the Romantic Movement, and the personal desires and ideas that arise with it.
ReplyDeletePerhaps passivity corresponds to centrality. If man were significant, then understanding would come to him. However, if he were insignificant, then he would have to play an active role. Also, if he is insignificant, he is free to experiment with the imagination; the world will not turn into Hell, even if man embraces it.
ReplyDeletePlate 21 reminded me of both the Friedrich painting and the painting of Newton we saw today in class. The figure is very similar to Newton, as is the mysterious dark background that surrounds both. On Plate 21, however, Newton is no longer trapped below the sea, concentrating on his own logic, but on the ground, staring up towards the unknown as the man in the Friedrich painting contemplates the mist. It seems that Blake is advocating this contemplation, as the man on Plate 21 is illuminated and appears to be radiating light, whereas in the painting we saw in class, the man was mostly in shadow, and only the page was bright.
It seems to me that that exact conflict between Blake and more traditional Romantics is what led professor Daub to specify that Blake was not a romantic. He still believes in the power of man, as evidenced especially by the quote professor Bobonich showed us today in class where he seems to be almost agreeing with Berkeley, saying that what we believe is the physical world resides only in the mind of man. So although he relies on imagination, energy and passion as the foundation for attaining truth like other romantics, he still straddles something of a middle ground between them and more empirical thinkers. For Blake, man is essential, while for the later romantics, man is nothing but a speck in the view of nature and nature's god.
ReplyDeleteThe image on plate 21 provides is an interesting comparison to the image we saw in lecture of Newton. Professor Daub talked about how Newton was looking down at his drawing and calculations instead of observing the world around him, and that reflects the emphasis on science and reason of the enlightenment. This man in plate 21 is sitting similarly to newton, but is looking upward towards some higher energy source. Therefore, Blake is acknowledging that perception is more important than just human thoughts. It is true, as Willa pointed out, that the body position of the figure is tense and he seems to be working to perceive something. As many people have pointed out, there are many possible reasons why Blake's ideas would differ from the ideals of Romanticism here. However, I believe that even though he is not being a true Romantic here, he is still critiquing the ideas of the enlightenment which is the foundation of Romanticism.
ReplyDeleteThis plate is a brilliant example of the difference between the romanticism and the enlightenment as prof. Daub described it today. As you mention, Willa, the man looks out of the frame and actively turns his head, thereby aligning himself with Blake's fascination of energy. Another important detail, however, is the man's location. Judged from the mountains in the background, we can assume that he is already at a high altitude. Still, he wants - or at least looks like he wants - to reach higher. His muscles are tense, his arms are stretched out, but he is obviously striving for something that is out of reach. To Blake, that gap is perfectly fine. Much like we cannot understand all of The Marriage Of Heaven And Hell, his character is unable to obtain all the knowledge he wants. There is always a higher level and always a deeper meaning.
ReplyDeleteI think that Blake's emphasis on human energy and desire does not necessarily oppose Romantic ideals. He simply recognizes these aspects of humanity and their importance, but does not imply that man is superior to nature or time. His point that man is not completely rational or reasonable is of key importance and makes him a true Romantic writer and artist. The Enlightenment stressed fact, logic, and absolute reality, while Blake and the Romantics recognize that this black and white version of the truth is incomplete. Feeling, intuition, and imagination all contribute to an individual's as well as a nation's or world's conception of the reality. Blake believes that one must truly recognize the illogical aspects of oneself in order to appreciate the complexity and awesomeness nature, life, and time.
ReplyDeleteBlake in plate 21 shows that knowledge is not only based on reason. Clearly, at least for me, this picture presents desire. If you look closely at the picture, you will see that the man's face is facing the lighter side of the background. He is facing light and ignoring the darkness of the other side, that said, he seems he is seeking knowledge from another prospective and direction, he is finding knowledge through his desire.
ReplyDeleteThere is no one particular clarification for Blake's plates; he actually wants us as the professor said "not to know everything,or be able able to understand and analyse everything".
I agree with Cesar's comment about plate 21 definitely containing Romantic ideals while simultaneously providing a warning about the Enlightenment ideals. I also agree that the man's struggling is demonstrative of his being shackled by reason and those things which the Enlightenment advocate without exception. You introduced the interesting point about how this painting is not necessarily entirely Romantic even though he has his gazed directed towards some higher power and he is the lone subject. I agree. As compared to Friedrich's painting, this one seems much more focused on man than Romanticists would present. In addition there is no necessarily grand or alluring view of nature that dominates. Furthermore, while the subject is not facing us we see his face. The progression of how one might view the image is interesting because at first the centralized bright figure lures us in and we notice the rigidness associated with reason. Then, we see his face and follow his gaze which leads out of the painting leaving us contemplative in our own lone state to ponder on what it could possibly be. This progression leads us from thinking about Enlightenment's downfalls to the possibilities of Romantic thought.
ReplyDeleteI agree and think that Blake opposes romantic ideas of a human. He believes in the sheer energy and power of humans to change the world but I do not believe he necessarily has faith in us. Its almost as if he is telling humans what they could do, yet aren't doing. As Rasmus points out, the man is reaching for something. This is showing the idealized view from Blake about humans striving toward greater heights.
ReplyDeleteI don't think that Plate 21's image argues against Romanticism and the lone subject at all. I would pay closer attention to the context it is placed in: the man is looking up, presumably in the traditional sense at the heavens. The text literally talks about Swedenborg only relating falsehoods because he only listened to Angels who love religion, not Devils who hate it, and thus has an inaccurate world view. So, I take Plate 21 to be representative of the older tradition of the Enlightenment--the subject is tense and looking up to his flawed perception of heaven instead of the pyramids and beauty around him. I think Blake definitely still holds true to Romantic thought, then.
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