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Jerusalem, the last and most fully developed version of Blake's personal myth, is recognised as an important part of our cultural heritage, apparently full of deep meaning. But exactly what that meaning is has been little understood. At first sight Blake's poem lacks narrative continuity, presents no clear argument and shows little structural cohesion, while his illustrations, beautiful though they are, are often difficult to relate to the text. Yet underlying its baffling surface there is a coherent and relatively simple pattern, and this reveals in a unique way the psychological and spiritual processes that shape our lives and give them direction. Blake wrote of Man's "Fall into Division and his Resurrection to Unity". The pattern symbolised by the Fall occurs inevitably in every human life and it accounts for all that is evil and destructive in human behaviour and all the inner conflicts by which we are torn. While we cannot avoid it, it is open to us as individuals eventually to rise above it, to become free of those conflicts and of the compulsive behaviour associated with them. This is not just another academic interpretation. Blake's myth is considered here in a way that explains our conflicts and their origins in the delusions that we cling to. It leads to the point of letting go of the central delusion, that concerning one's own identity, or 'ego', which is a supremely challenging act of self-liberation -- Blake calls it the 'annihilation of the selfhood' -- leading to the 'Resurrection to Unity'. Blake's art and poetry help to evoke disruptive forces active within us which we prefer to keep hidden, but which we need to face intelligently if we are to become free of them. Not surprisingly, many people find this disturbing; but it can be immeasurably rewarding. Nowadays there is considerable interest in Eastern teachings which have a similar purpose; but our typical Western starting point, conditioned by centuries of Judaeo-Christian teaching of an external law-giving God, is different from that of, say, Buddhists or Hindus, for whom the supreme authority is to be found within. Blake's myth reflects Western conditioning and the particular patterns that result from it, which we may be able to recognise in ourselves; but its end-point, freedom from all conditioning, is universal. Illustrations include a complete reproduction of one of Blake's black and white copies of Jerusalem.
Taking his inspiration from the illuminated manuscripts of the middle ages, Blake invented the process of creating Illuminated Books. Between 1788 and early 1795 Blake published a series of fifteen Illuminated Books. He returned to creating Illuminated Books in 1804 when he began work on Milton (finished in 1808 or later) and Jerusalem. Blake committed himself in the minute particulars of producing his Illuminated Books. The process included creating a mental image, drawing, composing the design and poetry of the plate, engraving, printing, painting, compiling and selling. From inception to final production the color copy of Jerusalem was labored over for sixteen years. William Blake (1757 – 1827) was a British poet, painter, visionary mystic, and engraver, who illustrated and printed his own books. Blake proclaimed the supremacy of the imagination over the rationalism and materialism of the 18th-century. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of both the poetry and visual arts of the Romantic Age.
Poetry.
A richly illustrated, comprehensive introduction to the visionary artist William Blake. William Blake (1757–1827) is a universal artist—an inspiration to musicians, poets, performers, and visual artists worldwide. By combining his poetry and images on the page through radical printing techniques, Blake created some of the most striking and enduring images in art. His personal struggles in a period of political terror and oppression; creativity, inventiveness, and technical innovation; and vision and political commitment keep his work relevant today. Featuring over 130 color images, this accessible yet comprehensive introduction to Blake’s achievements and ambition includes discussions of his legacy in America; relationship to the medieval, Renaissance, and Baroque artists who preceded him; visionary imagination; and unparalleled skill as a printmaker.
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William Blake as Natural Philosopher, 1788-1795 takes seriously William Blake’s wish to be read as a natural philosopher, particularly in his early works, and illuminates the way that poetry and visual art were for Blake an imaginative way of philosophizing. Blake’s poetry and designs reveal a consistent preoccupation with eighteenth-century natural philosophical debates concerning the properties of the physical world, the nature of the soul, and God’s relationship to the material universe. This book traces the history of these debates, and examines images and ideas in Blake’s illuminated books that mark the development of the monist pantheism in his early works, which contend that every material thing is in its essence God, to the idealism of his later period, which casts the natural world as degenerate and illusory. The book argues that Blake’s philosophical thought was not as monolithic as has been previously characterized, and that his deepening engagement with late eighteenth-century vitalist life sciences, including studies of the asexual propagation of the marine polyp, marks his metaphysical turn. In contrast to the vast body of scholarship that emphasizes Blake’s early religious and political positions, William Blake as Natural Philosopher draws out the metaphysics underlying his commitments. In so doing, the book demonstrates that pantheism is important because it entails an ethics that respects the interconnected divinity of all material objects – not just humans – which in turn spurns hierarchical power structures. If everything is alive and essentially divine, Blake’s early work implies, then everything is worthy of respect and capable of giving and receiving infinite delight. Therefore, one should imaginatively and joyfully immerse oneself in the community of other beings in which one is already enmeshed. Often in the works discussed in this book, Blake offers negative examples to suggest his moral philosophy; he dramatizes the disastrous individual and social consequences of humans behaving as if God were a transcendent, immaterial, nonhuman demiurge, and as if they were separate from and ontologically superior to the degraded material universe that they see as composed of inert, lifeless atoms. William Blake as Natural Philosopher traces the evolution of eighteenth-century debates over the vitalist qualities of life and the nature of the soul both in the United Kingdom and on the continent, devoting significant attention to the natural philosophy of Newton, Locke, Berkeley, Leibniz, Buffon, La Mettrie, Hume, Joseph Priestley, Erasmus Darwin, and many others.
Presents a selection of important older literary criticism of selected works by nineteenth-century poet William Blake.