Milton a Poem - William Blake

Summary

'Milton a Poem' is a complex prophetic book by William Blake, exploring themes of artistic freedom, redemption, and the nature of error. The poem begins with Blake himself experiencing a spiritual crisis, feeling constrained by conventional religion and philosophy. He invokes the spirit of John Milton, whom he believes made significant errors in his epic poem Paradise Lost, particularly concerning the nature of God, Satan, and women. Milton's spirit, hearing Blake's invocation, descends from Eternity to Earth to correct his past mistakes and re-enter his own "shadowy Female" (his emanation Ololon) who has fallen into error.

The narrative follows Milton's journey through Blake's complex mythological universe, a battle against the "Selfhood" (the ego, rationalism, and materialism represented by Urizen and Satan) and a quest for imaginative freedom. Blake introduces his unique cosmology involving figures like Los (the Eternal Prophet and artist), Urizen (the God of reason and law), and the Giant Albion (representing humanity). Milton's descent is a redemptive act, aiming to unite with his scattered emanations and overcome the restrictive forces that he himself, in Blake's view, inadvertently perpetuated. The poem culminates in a vision of universal awakening and the potential for imaginative salvation, where the "States" of humanity are not fixed but are overcome through love and forgiveness, leading to a new understanding of divine humanity.

Book Sections

Section 1: The Bard's Song and Milton's Awakening

The poem opens with an invocation, followed by the "Bard's Song." The Bard sings of the fall of Palamabron, a son of Los, who is oppressed by the rational, legalistic Rintrah (another son of Los, embodying righteous indignation). This narrative initially seems disconnected but sets the stage for Blake's critique of conventional morality and justice, particularly as embodied by Urizen. The Bard's song also introduces the idea of the "Spectre," a fallen aspect of humanity.

Suddenly, William Blake himself enters the narrative as the "awakened Bard," distressed by the state of England and humanity, feeling the restrictive effects of the "Spectre of Albion." He hears a "great voice" calling John Milton to descend from Eternity to Earth to redeem his "Female" (Ololon) who has fallen. Milton, realizing his errors in Paradise Lost—where he justified the ways of God to men but, in Blake's view, propagated a tyrannical God and misunderstood the nature of Satan—decides to descend as a star, sacrificing his eternal peace to correct his past theological and philosophical mistakes. He believes his "Selfhood" must be cast off for true imagination to flourish.

Character	Characteristics	Motivations
William Blake	The poet-prophet, narrator, visionary	To awaken humanity to imaginative truth, correct the errors of his predecessors (like Milton), and experience spiritual redemption. He acts as a conduit for the divine vision and the vehicle for Milton's return.
John Milton	Historical poet, now a spirit in Eternity	To atone for the errors he made in Paradise Lost, particularly his portrayal of God and Satan, and to reclaim his fallen emanation, Ololon, thus achieving spiritual integration and universal redemption. He seeks to cast off his "Selfhood."
Los	The Eternal Prophet, Imagination, Time-Binder	To continually build the City of Golgonooza, maintain the possibility of imagination, and contain the destructive forces of Urizen. He is the divine forge, shaping the temporal world and providing a path for redemption.
Palamabron	Son of Los, represents meekness, artistic labor	His suffering under Rintrah's oppression symbolizes the suppression of gentle, creative imagination by rigid moralism or indignation. He seeks freedom from this oppression.
Rintrah	Son of Los, represents righteous indignation	His tyrannical actions against Palamabron highlight the dangers of righteous anger and legalistic morality when unchecked by compassion and imagination. He is driven by a narrow sense of justice.
The Spectre	The fallen, rationalistic, self-centered ego	To dominate and control, to impose abstract reason and law over imaginative freedom, leading to suffering and division. It represents the negative aspects of the human psyche when divorced from its spiritual essence.
Ololon	Milton's female emanation, a collective figure	Originally a divine feminine principle associated with Milton, she falls into error when Milton misunderstands her. Her motivation is to be reunited with Milton, to be redeemed from her fallen state, and to achieve imaginative integration, becoming a vehicle for universal salvation.
Urizen	God of Reason, Law, Abstraction	To impose rigid laws and abstract morality upon the universe, creating a world of limitations, suffering, and rationalistic dogma. He represents the restrictive, divisive, and often cruel aspects of institutional religion and scientific materialism.
Satan	The "Selfhood," a state of error, not a being	To perpetuate the delusion of a separate self, to promote pride, envy, and the justification of self-righteousness, thereby hindering imaginative vision and unity. In Blake's view, Satan is a human error, not an external evil entity.

Section 2: Milton's Descent and the Serpent of Materialism

Milton's spirit, in the form of a star, descends into Blake's left foot, signifying a direct, physical entry into the human world and a grounding of the spiritual in the corporeal. This act allows Blake to experience a profound spiritual transformation. The narrative then shifts to explore the origins of the "Serpent Temple" and the "Giant Albion," Blake's primordial man, who has fallen into division and sleep.

The poem details the division of Albion into male and female spectres, and the creation of "States" of existence. Blake introduces the complex mythology surrounding the "Twenty-seven Heavens," which are "States" of error through which humanity passes. These states are not eternal damnation but temporary conditions to be overcome. The focus is on the human capacity for error and redemption, facilitated by Los, who continually battles against Urizen and the forces of materialism to preserve imaginative space.

Section 3: The Building of Golgonooza and the Wars of Los

This section elaborates on the role of Los, the Eternal Prophet and artist. Los labors tirelessly to build Golgonooza, the City of Imagination, which serves as a spiritual refuge and a place where error can be contained and transformed. Golgonooza is constructed from "contraries," meaning it embraces opposing forces without succumbing to their division. Los's activity involves containing the destructive powers of Urizen and Satan, preventing them from utterly destroying the possibility of imagination.

The section describes the "wars of Los," which are spiritual battles against the forces of rationalism and materialism. These wars are not of physical violence but of imaginative creation against destructive abstraction. Los's sons, including Palamabron and Rintrah, also play roles in these struggles, representing different aspects of imaginative and emotional energy. The emphasis is on the ongoing effort to prevent the spirit from being trapped in the material world and to keep open the gates of perception.

Section 4: Ololon's Journey and the Challenge of the Selfhood

Ololon, Milton's collective female emanation, also descends from Eternity, following Milton. She appears as a shower of stars, embodying the scattered divine feminine principle that Milton needs to integrate. Her journey is crucial for the poem's theme of spiritual marriage and the reunification of divided aspects of the self.

Ololon encounters the "Spectre of Milton," which represents Milton's "Selfhood"—the part of him that clung to error, rational pride, and a false sense of righteousness. This Spectre attempts to draw Ololon into its destructive embrace, seeking to reassert the old, fallen identity of Milton. The confrontation between Ololon and the Spectre is a pivotal moment, symbolizing the internal struggle against ego and restrictive thought. Ololon's willingness to confront and ultimately embrace Milton's true spiritual essence, rather than his false Selfhood, is key to redemption.

Section 5: The States of Man and the Vision of Universal Salvation

Blake delves deeper into his concept of "States." He distinguishes between individuals, who are eternal and divine, and "States," which are temporary conditions of error, good, or evil that individuals pass through. The true path to salvation lies not in condemning individuals to eternal punishment, but in recognizing that errors are "States" that can be cast off. Satan is described not as a being, but as the "State of Satan," a condition of self-righteousness and accusation.

The poem culminates in a powerful vision of universal awakening. Blake experiences a profound spiritual connection with the divine, seeing the "Human Form Divine" in all things. Milton, through his descent and the reunification with Ololon, sheds his "Selfhood" and embraces his true imaginative identity. This leads to a vision of the "Last Judgment," not as a punitive event, but as a moment of truth and forgiveness where all "States" are revealed for what they are and ultimately dissolved, allowing for the full realization of imaginative love and unity. The poem ends with a sense of hopeful transformation and a call to awaken to the divine within.

Literary Genre

Epic Poem, Prophetic Book, Visionary Poetry, Religious Allegory.

Author Facts

• William Blake (1757-1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of both poetry and the visual arts of the Romantic Age.
• He was a devout Christian but was hostile to the Church of England and virtually all forms of organized religion, holding beliefs influenced by Gnosticism and advocating for radical spiritual freedom.
• Blake developed his own complex mythology, complete with a pantheon of characters like Urizen, Los, and Albion, which he used to critique contemporary society, politics, and religion.
• He often published his works as "illuminated books," which he engraved, illustrated, printed, and colored himself, combining text and images in a unique artistic fusion.
• His most famous works include Songs of Innocence and of Experience, The Marriage of Heaven and Hell, and his longer prophetic books like Vala, or The Four Zoas, Jerusalem, and Milton a Poem.

Moral of the Book

The central moral of 'Milton a Poem' is that true redemption and spiritual freedom come from casting off the "Selfhood" (ego, pride, rationalistic dogma) and embracing imaginative love and forgiveness. Blake argues that error is a "State" to be transcended, not an eternal condemnation of an individual. He advocates for a direct, personal, and imaginative relationship with the divine, rejecting external authority, restrictive laws, and the divisive nature of organized religion and reason when divorced from compassion. The poem encourages a continuous act of self-annihilation of the ego to achieve imaginative unity and universal brotherhood.

Curiosities of the Book

• Autobiographical Element: Blake directly inserts himself into the narrative, experiencing a vision and embodying Milton's spirit. This blurs the lines between poet, prophet, and subject.
• Critique of Milton: Despite being an admirer, Blake critiques John Milton's Paradise Lost for inadvertently promoting a tyrannical God, misrepresenting Satan (whom Blake sees as a "state of error" rather than an evil being), and for his views on women, which Blake found restrictive. Blake's Milton is an attempt to "correct" Milton's earlier work.
• Complex Mythology: The poem is deeply embedded in Blake's personal mythological system, which can be challenging for new readers. Figures like Urizen, Los, and Ololon are central to understanding his cosmology.
• Illuminated Plates: Like many of Blake's works, 'Milton a Poem' was engraved and illustrated by Blake himself. The visual elements are integral to the meaning, and the text cannot be fully separated from its original illuminated form.
• The Left Foot: Milton's descent into Blake's left foot is a highly symbolic act. The left foot often represents the material, earthly, and physical grounding of spiritual energy, indicating that redemption must be embodied in the physical world. It also alludes to Blake's own struggles and the need for the artist to be rooted in reality while reaching for the divine.
• "States" vs. "Individuals": Blake's unique philosophical concept of "States" is crucial. It argues that individuals are eternal and divine, but they pass through temporary "States" of good, evil, or error. This reframes sin and judgment as transient conditions rather than permanent designations of identity.