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THE SEA OF TIME AND SPACE
By Kathleen Rairle
The temperapainting discoveredat Arlington Court irl I949, and pro-
visionallyentitled'The Sea of Time and Space' (P1.2 I a), is clearlydated,
under Blake'ssignature,I82 I . It is in fact a fine exampleof Blake'slate and
maturestyle, the style of the Dante illustrationsand the Job engravings. Its
allegoricalcharacterwas fromthe firstsurmised,but what is the allegory,who
are the figureswho play theirpartsin the energeticcyclic movementof descent
through cliff-hung caverns to a dark tumultuoussea, and reascendinto a
distant celestialworld, where innumerableradiantbeingssurroundthe sun's
chariot? Who are the centralfigures-the red-cladman with the darkclever
face who croucheson the edge of the sea, and the majesticwomanwho stands
behind him, and points his way upwardsto the shining world?
To those who supposethat Blakein his later years had quite turnedfrom
classicalto Biblicalthemes,it may well come as a surpriseto find him, in this
beautifuland elaboratecomposition,returningto myths that had formedhis
imaginativeworld thirty years before; for in 'The Sea of Time and Space'
we have his most complete and profollndlyconsideredrepresentationof the
essentialsof Neoplatonism,of the descent and returnof souls, of the crossing
of the sea of time and space. The paintingis based upon Porphyry'streatise
on Homer'sCave of the Nymphs, to which Blakehas added detailsfrom the
Odyssey,and from other Platonic sources. The figure on the sea-verge is
Odysseus,newly landed in Ithaca, in the cove of Phorcys,close to the cave of
the nymphs. In the distance,shelteredby trees,we see the tall classicalpillars
of his house. Behind him, and still unseerl by Odysseus, stands Athene,
depicted not with helmet and gorgon-shield,but as the Divine Wisdom, a
figure somewhat resembling the Beatrice of Blake's Dante illustrations.
Odysseus,though kneeling on the land, is silhouettedagainst the tempest-
tossedsea which has so long held him captive. He is in the act of throwing
somethingout to sea, but with his face averted. What has he thrown? Out
at sea, a nymphor goddesshas caughta scarf-likewreaththat spiralsupwards
above her head, dissolvinginto radiantcloud. She is Leucothea,or Ino, who
lent Odysseus her sea-girdle by which he came safe ashore-not, in this
instance,on the coastof Ithaca, but on the shoreof Phaeacia. Blakehas com-
bined the two accountsof the hero's coming safe to land; from the landing
on Ithaca (Odyssey, BookXIII) comesAthene, and Phorcys,and the Cave of
the Nymphs; fromthe Phaeacianlanding (BookV) the episodeof Leucothea's
girdle. Odysseushad been shipwrecked,and alone survivedin the tempest:
But Cadmus'beauteousdaughter(Ino once,
Now namedLeucothea)saw him....
These four horses doubtless had for Blake a symbolic significance not
intendedby Homer. The fourfoldvehicle is a symbolto which he had given
much thought; his own Four Zoas-the four living creatures are central to
his symbolic system. The Zoas doubtlessderive principallyfrom the four
living creaturesof Ezekiel'schariot,and the four beastsabout the Throrlein
Revelation. These he gives special place in his painting of the Vision of the
LastJudgement-'WTheseI supposeto have the chief agency in removingthe
old heavens & the old Earth to make way for the New Heaven & the New
Earth." They are, as he says of his own Zoas, the "fourmighty ones" that
are in every man, the mysteriouspowersof life.4 The chariot of the sun in
the heavens above the sea is, likewise,driven by four horses,but bright and
radiant. One may hazard the suggestionthat those above are the energies
of the spiritualhumanity, and the dark horses of the sea, their "vehicular
forms,"or manifestationin the physicalworld.
This is a speculativedigression;yet it is necessaryto point out that where
Homergivesbut an image,Blakemay readinto it a symbolicmeaningreached
by other ways. The significancein Greekmythologyof Leucothea'sgirdle I
do not know; and here it may well be that Blakeis not mistakenin takirlgit
to be the physicalbody. But he has no authorityfor makingthe girdledissolve
into cloud, as he here depictsit, otherthan his own habitualuse (derived,it is
true, from well-authenticatedtraditionalsources) of cloud as a symbol for
the physicalbody.
For theseblackbodiesand this sunburntface
Is but a cloud....
Here the world-caveis the grave "wherethe dead dwell," and where man
finds his woven garments. This is pure Porphyry. The Saviour himself
descendedinto this Cave, the earth, and here in the "grave" of souls dead
to eternity, Man meets his Saviour,who also puts on a "body of death."
Blake has used the image of the stone looms for purposesof his own:
. . . and they drew out fromthe Rocky Stones
Fibresof Life to Weave, for every Femaleis a GoldenLoom.
The Rocksare opakehardnessescoveringall vegetatedthings;
As they Wove & Cut from the Looms,in variousdivisions
They dividedinto many lovely Daughters,to be counterparts
To those they Wove; for when they wove a Male, they divided
Into a Female, to the Woven Male: in opakehardness
They cut the Fibresfrom the Rocks; groaningin pain they Weave,
Callingthe RocksAtomic Originsof Existence,denyingEternity12
The drawingout of fibresfrom the rockystonesseemsto be a recollection
of Homer'sstone loom upon which the purple garmentsare woven.
The looms of generationpassed,we reach the fourth,and lowest, stage of
the descendingseries,the Stygianwatersof the river'smouth,wherethe Fates
control the entry upon "the sea of time and space." With faces of savage
cruelty and joy one unwindsthe threadfrom a great distaff-likecoil held by
Phorcys; a second measuresthe yarn with her fingers, and the third cuts it
with her shears. Sir GeoffreyKeynes has drawn attentionl3 to the phallic
appearanceof this coil; and this would be consistentwith the symbolicsigni-
ficance that Porphyryattributesto Phorcys,as the god of generation.
". . . accordingto Plato, the deep, the sea, and a tempest, are images
of a material nature. And on this account, I think, the poet [Homer]
called the port by the name of Phorcys. For he says 'It is the port of the
ancient marine Phorcys'."
Plato in the Timaeus names Phorcysamong the ennead of gods who fabricate
generation,and Taylor quotesProclus'commentary:
". . . as the Jupiter in this ennead causesthe unapparentdivisionsand
separationof forms made by Saturn to become apparent, and as Rhea
calls them forth into motion and generation;so Phorcysinsertsthem into
matter, producessensiblenatures,and adornsthe visible essence."
Thereis somethingof Phorcysin Blake'sTharmas,"demonofthe waters''l4
who is, besides,the "parentpower." The sea, likewise,is
. . . the Worldof Tharmas,where in ceaselesstorrents
Its billowsroll, wheremonsterswanderin the foamypaths.
12J. III. 67. sistentwith his marinekingdom. Was he like
13 Note in the Arts C:ouncilC:atalogue of the "old man of the sea," the shepherdnot of
the I95I Exhibitionof Blake'stemperapaint- sheep but of the seals? This is pure specula-
ings. tion. Phorcysis, in this sense,describedas a
14 Tharmasis describedas a "shepherd," shepherd.
an occupation that seems strangely incon-
0
220 KATHLEEN RAINE
It may be objected that Phorcys, as the Old Man of the Sea, ought to be
beardedand old. But Blakeis interpretingthe symbolaccordingto Porphyry's
definition as thegod of generation.Blake never followed the accidents of a
symbolictradition at the expense of the essentialmeaning-';not because I
think the Ancientswrong, but they will be pleas'dto rememberthat mine is
Vision & not Fable." The Furies,for example,he representsas "threeMen &
not by three Women"; again, "the GreeksrepresentChronosor Time as a
very Aged Man; this is Fable, but the Real Vision of Time is in Eternal
Youth.''l5 So it seemsthat Blakehas depictedthe god of generationas young.
The "vision"had been with him for many years, and Blake'sown Sgure of
Tharmas,who may himselfhave derivedin part from the classicalPhorcys,
had in the courseof years assllmeda characterthat in its turn had influenced
his representationof the Homericgod. But it is curiousto noticethat Tharmas
himselfwas at one moment a bearded figure, emergingfrom the sea in the
traditionalmannerof the Old Man of the Sea. WhenVala's eyes
. . . were open'dto the world of waters
She saw Tharmassittingupon the rocksbesidethe wavy sea.
He strok'dthe waterfromhis beard....ls
The god in the chariot of the sun is indeed a strange figure. He does not
appearto be intendedto resemblethe traditionalApollo he has no "bow of
burninggold" and there is a strangeand strikingresemblanceto the figure
of God in the fifth plate of the jkobengravings, "Then went Satan forth
from the presence of the Lord," though there the drowsy God is not yet
actually sleeping, as he appearsto be here. Yet the symbolicevent, though
statedin other terms,is strangelyparallel. The separationof Satan (the Self-
hood, as Blake invariablydefineshim) from God (the Divine Humanity) is
about to initiatejust such a cycle of Experience,of descentand return,in the
sufferingsof Job, as is here symbolizedby the voyage of Odysseusacrossthe
stormysea of time and space, and his final home-coming. One thinks,also, of
the opening lines of fhe Gatesof Paradise,
My EternalMan set in Repose,
The Femalefromhis darknessrose.
Again, the sleep of the EternalMan-who is, for Blake,the divine in man
- initiatesa descentinto the "grave"or "cave"of this world, the putting on
of a bodily garment in the cave, and a final return of the Travellerto his
native country:
But when once I did descry
The ImmortalMan that cannotDie,
Thro' eveningshadesI haste away
To close the Laboursof my Day.
There is more to the same purpose,in which the image is changed from a
piercedtub to a sieve, and elaboratedbeyond our presentpurpose.
336 KATHLEEN INE
These two conditions,Blake has representedby two women. One whose
aspect is sober and resolute,has turned her back upon the swirlingwaters,
and begun to climb the steps of the cave, against the currentof generation.
In her right hand she carriesa full bucket; and her left hand, in a gesture
mirroringthat of Athene, is raised towards the celestial world. She is the
initiatedsoul, who is beginningherjourneyof re-ascent. Her upwardprogress
is opposed, as Sir GeoffreyKeynes observes,by the nymphsof the cave; for
she is a "dry soul," and her progressis contraryto their nature and function.
Close to her, in the extremeright of the foreground,the uninitiatedsoul
dominatedby desirelies, deeply sunkin "deadlysleep", half immersedin the
water, and recliningover her tub (or sieve) which lies on its side, the water
lapping into it, for ever unfilled. Her expressionis one of bliss and uncon-
sciousness,for the lapse into generationis delightfulto the soul attractedby
moisture. She is a "moistsoul" proceedingon her downwardjourney to the
sea. She has summoned,like Lyca in A LittleGirlLost,the "sweetsleep" of
generation,and she is on the descendingpath: ". . . by the sieve Plato signifies
the rational in subjectionto the irrationalsoul. But the water is the flux of
nature: for, as Heraclitussays, moisture
is thedeathof thesoMl."20
These two figures are related very directly to the spiritual situation of
Odysseushimself;for he has reachedthe point of returnfrom the sea. He is
no longer on the descendingpath, but about to take the upwardway of the
"dry soul," pointed for him by Athene the divine Wisdom.
Such is the wealth of meaning that Blake has workedinto this beautiful
composition,with its inexhaustiblevitalityof the everlastingcycle of death and
rebirth. He has given us the essence of Neoplatonism, and, incidentally,
made incontrovertiblyclear how much of his own system comes from that
source. So many of Blake'smost frequentsymbolsare here that some critics
have thought this painting too personalto be an illustrationof any allegory
but Blake'sown.21 But Blake was not an inventor of symbols. He was un-
20 Olympiodorus,Op. Cit. MorganLibrary(publishedin PencilDrawings
21 Such an interpretationis given by Sir by WilliamBlake,Second Series,ed. Keynes,
GeoffreyKeynesin his notes to the painting Nonesuch I957) was made at a time when
in the Arts Councilcatalogueof the exhibi- Blakewas more closelyfollowingPorphyry's
tion of Blake'stemperapaintings,arranged symbolsthan he was when the finishedpaint-
in I95 I by the WilliamBlakeTrust; and also ing was elaborated. The date of the pencil
in a publicationof the PrincetonUniversity drawing is not certainly known, and Mr.
Press (I954) entitledStudiesin ArtandLitera- Prestonsuggeststhe possibilitythat it may
ture,for Belle da Costa Greene (edited by have been made much earlier than the
Dorothy bliner). Much that is true and Snishedwork. I feel it rightto give this view
valuable can be discoveredby this method. of a distinguishedBlake scholar, although I
Anotherdistinguishedauthoritywho hasheld cannot accept it. There seems to me to be
a similarview is Mr. KerrisonPreston,who more, rather than less, detail that is speci-
haskindlyallowedme to readan unpublished fically related to the classicalsourcesin the
essayon the ArlingtonCourtpainting,which later work. In the drawing, Odysseusis in
in many respectsdiffiersfrom Sir Geoffrey the act of throwing,but the sea girdle is not
Keynes' exposition, but is no less true to shown. The figures of the horses are not
Blake's symbolic system as a whole. Mr. there, nor morethan the barestindicationof
Preston is preparedto grant that Blake is the group about the sun. The Fates are
illustratingPorphyry,but suggeststhat the recognizable in the foreground, but not
pencil drawing (P1. 2 I b) in the Pierpoint Phorcys;and in the laterversion,the charac-
THE SEA OF TIME AND SPACE 337
restrainedlyeclectic but was so because he believed in a universalsymbolic
language; but no artist was ever more scrupulousin his observanceof tradi-
tional meanings. This workis a most scrupulous,and deeply pondered,study
of a theme of classicalmythology. Blake has studied Porphyry,the Orphic
Hymns, and Homer in at least one translationand probably several. The
compositionsuggeststhe most careful study of the text itself, and the com-
mentaries. To be a visionary,as Blakecertainlywas, is not to be an innovator
of symbols;it is, rather,to possessthe imaginativeinsightby which alone the
age-old symbols of the world's myths can be rightly understood. Visionary
imaginationis a naturalinitiationinto the secretlanguage secretbecauseit
only becomes comprehensibleto those minds capable of graspingits subject-
matter-handed down from antiquity, in all art and poetry whose theme is
imaginative knowledge. There is nothing personal in this painting except
the style of the draughtsmanshipand composition,that is inimitablyBlake's
own. Any initiate of the traditional symbolic language could not fail to
receive its communication. From all others, it withholds its secret, and
presentsonly those over-valuedaestheticqualitiesthat in a secularage usurp
the place, in art-criticism,of the communicationof meaning, which is the
purposeof all religiousart.
I rememberseeing this painting for the first time at the Art Council's
exhibition of Blake'stempera paintings,in I95I. It was at that time closed
to me; it reminded me though none of the figurescorrespond of Joyce's
Finnegan'sWake,throughthe commontheme of a cycle of descentand return,
fromsea to cloud, and riverto sea. Yeats'use of riverand sea symbolismmight
equally have come to mind, though the cycle is peculiarlyJoyce's theme.
The similaritiesare not accidental;for these three great artistsin myth are all
scrupulouslyexact in their use of traditional symbols, though each has a
different statement to make, within those terms. It is to be deplored that
when a painter or a poet adheresstrictlyto the traditionalsymbolscommon
to all great religiousart of the Westerntraditionand beyond, both beforeand
after Christ,that he is likely, in this age of ignorance and, in Plato's sense,
opinion,to be accusedof a use of symbolstoo privateand personalto be under-
stood, if not of madness. He is fortunateif he escapeswith nothingworsethan
referencesto the Collective Unconscious. Blake ceases to be obscure when
we discover his sources, which are traditional. In this respect no poet or
painter has been more gravely misunderstood,even by some of his most
sincere admirers.