Sleep 1

When sleep comes, you awaken with a memory.
But it's soon forgoten
Recorded it at once.
Publish as a post

Tree of Mystery

Genesis 2:7-17

[7] And the LORD God formed man of the dust of the ground, and breathed into his nostrils the breath of life; and man became a living soul.
[8] And the LORD God planted a garden eastward in Eden; and there he put the man whom he had formed.
[9] And out of the ground made the LORD God to grow every tree that is pleasant to the sight, and good for food; the tree of life also in the midst of the garden, and the tree of knowledge of good and evil.
[10] And a river went out of Eden to water the garden; and from thence it was parted, and became into four heads.
[11] The name of the first is Pison: that is it which compasseth the whole land of Havilah, where there is gold;
[12] And the gold of that land is good: there is bdellium and the onyx stone.
[13] And the name of the second river is Gihon: the same is it that compasseth the whole land of Ethiopia.
[14] And the name of the third river is Hiddekel: that is it which goeth toward the east of Assyria. And the fourth river is Euphrates.
[15] And the LORD God took the man, and put him into the garden of Eden to dress it and to keep it.
[16] And the LORD God commanded the man, saying, Of every tree of the garden thou mayest freely eat:
[17] But of the tree of the knowledge of good and evil, thou shalt not eat of it: for in the day that thou eatest thereof thou shalt surely die.

This is the biblical source of the Tree of Mystery and of many other things in 'Blake'.

*****************************************************************************

The Tree of Mystery occurs once in the Book of Ahania and nowhere else except in the Four Zoas.
This extract comes from 'Ahania':

"3: For when Urizen shrunk away                        

From Eternals, he sat on a rock
Barren; a rock which himself
From redounding fancies had petrified
Many tears fell on the rock,
Many sparks of vegetation;                             
Soon shot the pained root
Of Mystery, under his heel:
It grew a thick tree; he wrote
In silence his book of iron:

- 86 -(of Erdman's book)

Till the horrid plant bending its boughs    
Grew to roots when it felt the earth
And again sprung to many a tree.

4: Amaz'd started Urizen! when
He  beheld  himself compassed round
And high roofed over with trees             
He arose but the stems stood so thick
He with difficulty and great pain
Brought his Books, all but the Book

PLATE 4
Of iron, from the dismal shade

5: The Tree still grows over the Void
Enrooting itself all around
An endless labyrinth of woe!

6: The corse of his first begotten          
On the accursed Tree of MYSTERY:
On the topmost stem of this Tree

Watercolor Illustration to Milton's Paradise Lost by William Blake

Look also at this 'Good and Evil'

Albion

Albion has a composite character second to none. It means (originally) England, but at a deeper level it means the cosmos, which is a man!. (In this Blake agrees with the Adam Kadmon of the Kabbalah, the Heavenly Man of Philo, St. Paul's heavenly man, the second Adam, and the cosmic man of Gnostic mythology, and the Hindu god, Krishna.)

       Albion, the eternal man, fell asleep into mortality in Beulah. We read at the beginning of Night 2 these ominous words:

Rising upon his Couch of Death Albion beheld his Sons
Turning his Eyes outward to Self, losing the Divine Vision. Albion called Urizen & said:
"Take thou possession! take this Scepter! go forth in my might
For I am weary, & must sleep in the dark sleep of Death.

He divides and divides into four parts, the four zoas (strangely similar to the four functions promulgated a hundred years later by Carl Jung).

       This dissolution of the cosmic man, described at the beginning of The Four Zoas, passes through the Circle of Destiny, and at the end of The Four Zoas he awakens from his mortal sleep and resumes his place in Eternity. That in essence is a thumbnail account of Blake's myth: descent from Eternity, struggle, and eventually return.

Jerusalem plate 76

*****************************************************************

From Wikipedia, the free encyclopedia

This article is about the archaic name for Great Britain. For other uses, see Albion (disambiguation).

Not to be confused with Alban.

The White Cliffs of Dover may have given rise to the name Albion

Albion (Ancient Greek: Ἀλβίων) is the oldest known name of the island of Great Britain. Today, it is still sometimes used poetically to refer to the island. The name for Scotland in the Celtic languages is related to Albion: Alba in Scottish Gaelic,Alba (genitive Alban, dative Albain) in Irish, Nalbin in Manx and Alban in Welsh,Cornish and Breton. These names were later Latinised as Albania and Anglicised as Albany, which were once alternative names for Scotland.

New Albion and Albionoria ("Albion of the North") were briefly suggested as names of Canada during the period of the Canadian Confederation.^[1][2] CaptainArthur Phillip originally named the Sydney Cove "New Albion", but for uncertain reasons the colony acquired the name "Sydne

Blake and Dante

You may read in Milton O. Percival's Circle of Destiny  page 1:

"I predict then, that when the evidence is in, it will be found that in the use
of tradition Blake exceeded Milton and was second, if to anyone, only to Dante."

In the concordance Blake mentioned Dante 27 times; many could be searched,
but I show here only 2:

Look at the Marriage of Heaven and Hell (Plate 22):
Have now another plain fact. Any man of mechanical talents may, from the writings of Paracelsus or Jacob Behmen, produce ten thousand volumes of equal value with Swedenborg's, and from those of Dante or Shakespear an infinite number.
But when he has done this, let him not say that he knows better than his master, for he only holds a candle in sunshine.

In Letter 62:|       
 Mr. Fuseli's Count Ugolino is the father of sons of feeling |        
and dignity, who would not sit looking in their parent's face in 
the moment of his agony, but would rather retire and die in         
secret, while they suffer him to indulge his passionate and         
innocent grief, his innocent and venerable madness, and insanity, 
and fury, and whatever paltry cold hearted critics cannot, 
because they dare not, look upon. Fuseli's Count Ugolino is a 
man of wonder and admiration, of resentment against man and 
devil, and of humilitation before God; prayer and parental 
affection fills the figure from head to foot. The child in his 
arms, whether boy or girl signifies not, (but the critic must be 
a fool who has not read Dante, and who does not know a boy from a         
girl); I say, the child is as beautifully drawn as it is       
coloured--in both, inimitable! and the effect of the whole is 
truly sublime, on account of that very colouring which our critic 
calls black and heavy.

0ld

Look first at the

You may read in Milton O. Percival's Circle of Destiny  page 1:

"I predict then, that when the evidence is in, it will be found that in the use
of tradition Blake exceeded Milton and was second, if to anyone, only to Dante."

Parad 7

From Paradiso XXXI 1-12 etc:

CANTO XXXI

In fashion, as a snow-white rose, lay then
Before my view the saintly multitude,
Which in his own blood Christ espous'd.  Meanwhile
That other host, that soar aloft to gaze
And celebrate his glory, whom they love,
Hover'd around; and, like a troop of bees,
Amid the vernal sweets alighting now,
Now, clustering, where their fragrant labour glows,
Flew downward to the mighty flow'r, or rose
From the redundant petals, streaming back
Unto the steadfast dwelling of their joy.
Faces had they of flame, and wings of gold;
The rest was whiter than the driven snow.
And as they flitted down into the flower,
From range to range, fanning their plumy loins,
Whisper'd the peace and ardour, which they won
From that soft winnowing.  Shadow none, the vast
Interposition of such numerous flight
Cast, from above, upon the flower, or view
Obstructed aught.  For, through the universe,
Wherever merited, celestial light
Glides freely, and no obstacle prevents.

All there, who reign in safety and in bliss,
Ages long past or new, on one sole mark
Their love and vision fix'd.  O trinal beam
Of individual star, that charmst them thus,
Vouchsafe one glance to gild our storm below!

If the grim brood, from Arctic shores that roam'd,
(Where helice, forever, as she wheels,
Sparkles a mother's fondness on her son)
Stood in mute wonder 'mid the works of Rome,
When to their view the Lateran arose
In greatness more than earthly; I, who then
From human to divine had past, from time
Unto eternity, and out of Florence
To justice and to truth, how might I choose
But marvel too?  'Twixt gladness and amaze,
In sooth no will had I to utter aught,
Or hear.  And, as a pilgrim, when he rests
Within the temple of his vow, looks round
In breathless awe, and hopes some time to tell
Of all its goodly state: e'en so mine eyes
Cours'd up and down along the living light,
Now low, and now aloft, and now around,
Visiting every step.  Looks I beheld,
Where charity in soft persuasion sat,
Smiles from within and radiance from above,
And in each gesture grace and honour high.

So rov'd my ken, and its general form
All Paradise survey'd: when round I turn'd
With purpose of my lady to inquire
Once more of things, that held my thought suspense,
But answer found from other than I ween'd;
For, Beatrice, when I thought to see,
I saw instead a senior, at my side,
 Rob'd, as the rest, in glory.  Joy benign
Glow'd in his eye, and o'er his cheek diffus'd,
With gestures such as spake a father's love.
And, "Whither is she vanish'd?"  straight I ask'd.

"By Beatrice summon'd," he replied,
"I come to aid thy wish.  Looking aloft
To the third circle from the highest, there
Behold her on the throne, wherein her merit
Hath plac'd her."  Answering not, mine eyes I rais'd,
And saw her, where aloof she sat, her brow
A wreath reflecting of eternal beams.
Not from the centre of the sea so far
Unto the region of the highest thunder,
As was my ken from hers; and yet the form
Came through that medium down, unmix'd and pure,

"O Lady! thou in whom my hopes have rest!
Who, for my safety, hast not scorn'd, in hell
To leave the traces of thy footsteps mark'd!
For all mine eyes have seen, I, to thy power
And goodness, virtue owe and grace.  Of slave,
Thou hast to freedom brought me; and no means,
For my deliverance apt, hast left untried.
Thy liberal bounty still toward me keep.
That, when my spirit, which thou madest whole,
Is loosen'd from this body, it may find
Favour with thee."  So I my suit preferr'd:
And she, so distant, as appear'd, look'd down,

_

Wiki Common Last Plate of William Blake's Illustrations of Dante

_

parad 6

Dante in the Empyrean Drinking at the River of Light

Object 101 of William Blake's Illustrations of Dante

Parad 8

The Empyrean[edit]

From the Primum Mobile, Dante ascends to a region beyond physical existence, the Empyrean, which is the abode of God. Beatrice, representing theology,^[45] is here transformed to be more beautiful than ever before, and Dante becomes enveloped in light, rendering him fit to see God^[45] (Canto XXX):

"Like sudden lightning scattering the spirits
of sight so that the eye is then too weak
to act on other things it would perceive,

such was the living light encircling me,
leaving me so enveloped by its veil
of radiance that I could see no thing.

The Love that calms this heaven always welcomes
into Itself with such a salutation,
to make the candle ready for its flame."^[46]

Dante sees an enormous rose, symbolising divine love,^[45] the petals of which are the enthroned souls of the faithful (both those of the Old Testament and those of the New). All the souls he has met in Heaven, including Beatrice, have their home in this rose.^[45] Angels fly around the rose like bees, distributing peace and love. Beatrice now returns to her place in the rose, signifying that Dante has passed beyond theology in directly contemplating God,^[47] and St. Bernard, as a mystical contemplative, now guides Dante further (Canto XXXI).

The three circles of the Trinity(illustration by John Flaxman), Canto 33.

St. Bernard further explains predestination, and prays to the Virgin Mary on Dante's behalf. Finally, Dante comes face-to-face with God Himself (Cantos XXXII and XXXIII). God appears as three equally large circles occupying the same space, representing the Father, the Son, and the Holy Spirit:^[48]

"but through my sight, which as I gazed grew stronger,
that sole appearance, even as I altered,
seemed to be changing. In the deep and bright

essence of that exalted Light, three circles
appeared to me; they had three different colors,
but all of them were of the same dimension;

one circle seemed reflected by the second,
as rainbow is by rainbow, and the third
seemed fire breathed equally by those two circles."^[49]

Within these circles Dante can discern the human form of Christ. The Divine Comedy ends with Dante trying to understand how the circles fit together, and how the humanity of Christ relates to the divinity of the Son but, as Dante puts it, "that was not a flight for my wings."^[50] In a flash of understanding, which he cannot express, Dante does finally see this, and his soul becomes aligned with God's love:^[48]

"But already my desire and my will
were being turned like a wheel, all at one speed,

parad 3

British Museum
Blake Illuatrrations
St Peter, St James, Dante and Beatrice with St John Also


What might we do with these pictures? Knonski gave both of them to Paradiso XXV;


the first at lines 13-27, and the second picture at lines 100-108.


From wiki

"William Blake was born on 28 November 1757 at 28 Broad Street (now Broadwick St.) in Soho, London. He was the third of seven children,[14][15] two of whom died in infancy. Blake's father, James, was a hosier.[15] He attended school only long enough to learn reading and writing, leaving at the age of ten, and was otherwise educated at home by his mother Catherine Blake (née Wright).[16] Even though the Blakes were English Dissenters,[17] William was baptised on 11 December at St James's Church, Piccadilly, London.[18]


This from Counterlight:

"The poet and artist William Blake famously hated Saint Paul’s, considering it the very embodiment of that compromised institutional religion of law and rationality he always hated (never mind that his beloved Gothic was as much bound up with mathematics and measure, with the ambitions of king, bishop, and burgher, as Wren’s baroque edifice). Byron and the rest of the Romantics also hated Saint Paul’s. Byron dismissed it as just so much “commerce piled up to the sky.” The Victorians hated the building. Its baroque bulk offended Victorian religious sensibilities and English nationalism (every northern and central European nation in the 19th century claimed Gothic as their national and truly “Christian” style, only the French claim was legitimate). They added dark stained glass windows and archaizing Pre-Raphaelite mosaics to make the building into something other than what it was, to make it closer in feeling to Hagia Sophia’s mystical dark and further from Bramante’s classical light. Hitler’s Luftwaffe removed most of those Victorian accretions in World War II.

parad 2

St Peter, Beatrice and Dante

From Paradiso xxv:

Toward us mov'd a light, at view whereof
My Lady, full of gladness, spake to me:
"Lo! lo! behold the peer of mickle might,
That makes Falicia throng'd with visitants!"

As when the ring-dove by his mate alights,
In circles each about the other wheels,
And murmuring cooes his fondness; thus saw I
One, of the other great and glorious prince,
With kindly greeting hail'd, extolling both
Their heavenly banqueting; but when an end
Was to their gratulation, silent, each,
Before me sat they down, so burning bright,
I could not look upon them.  Smiling then,
Beatrice spake: "O life in glory shrin'd!"
Who didst the largess of our kingly court
Set down with faithful pen! let now thy voice
Of hope the praises in this height resound.
For thou, who figur'st them in shapes, as clear,
As Jesus stood before thee, well can'st speak them."

"Lift up thy head, and be thou strong in trust:
For that, which hither from the mortal world
Arriveth, must be ripen'd in our beam."

Such cheering accents from the second flame
Assur'd me; and mine eyes I lifted up
Unto the mountains that had bow'd them late
With over-heavy burden.  "Sith our Liege
Wills of his grace that thou, or ere thy death,
In the most secret council, with his lords
Shouldst be confronted, so that having view'd
The glories of our court, thou mayst therewith
Thyself, and all who hear, invigorate
With hope, that leads to blissful end; declare,
What is that hope, how it doth flourish in thee,
And whence thou hadst it?"  Thus proceeding still,
The second light: and she, whose gentle love
My soaring pennons in that lofty flight
Escorted, thus preventing me, rejoin'd:
Among her sons, not one more full of hope,
Hath the church militant: so 't is of him
Recorded in the sun, whose liberal orb
Enlighteneth all our tribe: and ere his term
Of warfare, hence permitted he is come,
From Egypt to Jerusalem, to see.

I turn'd, but ah! how trembled in my thought,
When, looking at my side again to see
Beatrice, I descried her not, although
Not distant, on the happy coast she stood.

St Peter Beatrice and Dante with St. James also
Blake Illustrations of Dante

Eighth Sphere (The Fixed Stars: Faith, Hope, and Love)[edit]

The sphere of the Fixed Stars is the sphere of the church triumphant.^[34] From here (in fact, from the constellation Gemini, under which he was born), Dante looks back on the seven spheres he has visited, and on the Earth (Canto XXII):

"My eyes returned through all the seven spheres
and saw this globe in such a way that I
smiled at its scrawny image: I approve

that judgment as the best, which holds this earth
to be the least; and he whose thoughts are set
elsewhere, can truly be called virtuous."^[35]

Here, Dante sees the Virgin Mary and other saints (Canto XXIII). St. Peter tests Dante on faith, asking what it is, and whether Dante has it. In response to Dante's reply, St. Peter asks Dante how he knows that the Bible is true, and (in an argument attributed to Augustine^[36]) Dante cites the miracle of the Church's growth from such humble beginnings (Canto XXIV):

"Say, who assures you that those works were real?
came the reply. The very thing that needs
proof no thing else attests these works to you.

	Dante Alighieri`s Paradiso MENU 0:00 Alessandro Sorrentino reads the XXXIII chant of Dante's Paradise
Problems playing this file? See media help.

I said: If without miracles the world
was turned to Christianity, that is
so great a miracle that, all the rest

are not its hundredth part: for you were poor
and hungry when you found the field and sowed
the good plant once a vine and now a thorn."^[37]

St. James, who questions Dante on hope (painting byRembrandt), Canto 25.

St. James^[38] questions Dante on hope, and Beatrice vouches for his possession of it (Canto XXV):

"There is no child of the Church Militant
who has more hope than he has, as is written
within the Sun whose rays reach all our ranks:

thus it is granted him to come from Egypt
into Jerusalem that he have vision
of it, before his term of warring ends."^[39]

Finally, St. John questions Dante on love. In his reply, Dante refers back to the concept of "twisted love" discussed in the Purgatorio^[40] (Canto XXVI):

"Thus I began again: My charity
results from all those things whose bite can bring
the heart to turn to God; the world's existence

and mine, the death that He sustained that I
might live, and that which is the hope of all
believers, as it is my hope, together

with living knowledge I have spoken of
these drew me from the sea of twisted love
and set me on the shore of the right love.

The leaves enleaving all the garden of
the Everlasting Gardener, I love
according to the good He gave to them."^[41]

St. Peter then denounces Pope Boniface VIII in very strong terms, and says that, in his eyes, the Papal See stands empty (Canto XXVII).

Dante and Beatrice see God as a point of light surrounded by angels (illustration by Gustave Doré), Canto 28.

parad 1

From Paradiso XIV:

CANTO XIV

From centre to the circle, and so back
From circle to the centre, water moves
In the round chalice, even as the blow
Impels it, inwardly, or from without.
Such was the image glanc'd into my mind,
As the great spirit of Aquinum ceas'd;
And Beatrice after him her words
Resum'd alternate: "Need there is (tho' yet
He tells it to you not in words, nor e'en
In thought) that he should fathom to its depth
Another mystery.  Tell him, if the light,
Wherewith your substance blooms, shall stay with you
Eternally, as now: and, if it doth,
How, when ye shall regain your visible forms,
The sight may without harm endure the change,
That also tell."  As those, who in a ring
Tread the light measure, in their fitful mirth
Raise loud the voice, and spring with gladder bound;
Thus, at the hearing of that pious suit,
The saintly circles in their tourneying
And wond'rous note attested new delight.

     Whoso laments, that we must doff this garb
Of frail mortality, thenceforth to live
Immortally above, he hath not seen
The sweet refreshing, of that heav'nly shower.

     Him, who lives ever, and for ever reigns
In mystic union of the Three in One,
Unbounded, bounding all, each spirit thrice
Sang, with such melody, as but to hear
For highest merit were an ample meed.
And from the lesser orb the goodliest light,
With gentle voice and mild, such as perhaps
The angel's once to Mary, thus replied:
"Long as the joy of Paradise shall last,
Our love shall shine around that raiment, bright,
As fervent; fervent, as in vision blest;
And that as far in blessedness exceeding,
As it hath grave beyond its virtue great.
Our shape, regarmented with glorious weeds
Of saintly flesh, must, being thus entire,
Show yet more gracious.  Therefore shall increase,
Whate'er of light, gratuitous, imparts
The Supreme Good; light, ministering aid,
The better disclose his glory: whence
The vision needs increasing, much increase
The fervour, which it kindles; and that too
The ray, that comes from it.  But as the greed
Which gives out flame, yet it its whiteness shines
More lively than that, and so preserves
Its proper semblance; thus this circling sphere
Of splendour, shall to view less radiant seem,
Than shall our fleshly robe, which yonder earth
Now covers.  Nor will such excess of light
O'erpower us, in corporeal organs made
Firm, and susceptible of all delight."

    

Dante Adoring Christ
William Blake Illustrating Dante
National Gallery of Victoriarom
From Paradiso XIV:

From wiki Paradiso

Paradiso (pronounced [paraˈdiːzo]; Italian for "Paradise" or "Heaven") is the third and final part of Dante's Divine Comedy, following the inferno and the Purgatorio. It is an allegory telling of Dante's journey through Heaven, guided by Beatrice, who symbolises theology. In the poem, Paradise is depicted as a series of concentric spheres surrounding the Earth, consisting of the Moon, Mercury, Venus, theSun, Mars, Jupiter, Saturn, the Fixed Stars, the Primum Mobile and finally, the Empyrean. It was written in the early 14th century. Allegorically, the poem represents the soul's ascent to God.

The Paradiso begins at the top of Mount Purgatory, at noon on the Wednesday after Easter. After ascending through the sphere of fire believed to exist in the earth's upper atmosphere (Canto I), Beatrice guides Dante through the nine celestial spheres of Heaven, to the Empyrean, which is the abode of God. The nine spheres are concentric, as in the standard medieval geocentric model of cosmology,^[1] which was derived from Ptolemy. The Empyrean is non-material. As with his Purgatory, the structure of Dante's Heaven is therefore of the form 9+1=10, with one of the ten regions different in nature from the other nine.

During the course of his journey, Dante meets and converses with several blessed souls. He is careful to say that these all actually live in bliss with God in the Empyrean:

"But all those souls grace the Empyrean;
and each of them has gentle life though some
sense the Eternal Spirit more, some less."^[2]

However, for Dante's benefit (and the benefit of his readers), he is "as a sign"^[3] shown various souls in planetary and stellar spheres that have some appropriate connotation.

While the structures of the Inferno and Purgatorio were based around different classifications of sin, the structure of the Paradiso is based on the four cardinal virtues (Prudence, Justice,Temperance, and Fortitude) and the three theological virtues (Faith, Hope, and Charity).

Perga 14

The Harlot and the Giant

From Purgatorio xxxii:

E'en thus the goodly regiment of heav'n
Proceeding, all did pass us, ere the car
Had slop'd his beam.  Attendant at the wheels
The damsels turn'd; and on the Gryphon mov'd
The sacred burden, with a pace so smooth,
No feather on him trembled.  The fair dame
Who through the wave had drawn me, companied
By Statius and myself, pursued the wheel,
Whose orbit, rolling, mark'd a lesser arch.

Through the high wood, now void (the more her blame,
Who by the serpent was beguil'd) I past
With step in cadence to the harmony
Angelic.  Onward had we mov'd, as far
Perchance as arrow at three several flights
Full wing'd had sped, when from her station down
Descended Beatrice.  With one voice
All murmur'd  "Adam," circling next a plant
Despoil'd of flowers and leaf on every bough.
Its tresses, spreading more as more they rose,
Were such, as 'midst their forest wilds for height
The Indians might have gaz'd at.  "Blessed thou!
Gryphon, whose beak hath never pluck'd that tree
Pleasant to taste: for hence the appetite
Was warp'd to evil."  Round the stately trunk
Thus shouted forth the rest, to whom return'd
The animal twice-gender'd: "Yea: for so
The generation of the just are sav'd."
And turning to the chariot-pole, to foot
He drew it of the widow'd branch, and bound
There left unto the stock whereon it grew.

As when large floods of radiance from above
Stream, with that radiance mingled, which ascends
Next after setting of the scaly sign,
Our plants then burgeon, and each wears anew
His wonted colours, ere the sun have yok'd
Beneath another star his flamy steeds;
Thus putting forth a hue, more faint than rose,
And deeper than the violet, was renew'd
The plant, erewhile in all its branches bare.

Unearthly was the hymn, which then arose.
I understood it not, nor to the end
Endur'd the harmony.  Had I the skill
To pencil forth, how clos'd th' unpitying eyes
Slumb'ring, when Syrinx warbled, (eyes that paid
So dearly for their watching,) then like painter,
That with a model paints, I might design
The manner of my falling into sleep.
But feign who will the slumber cunningly;
I pass it by to when I wak'd, and tell
How suddenly a flash of splendour rent
The curtain of my sleep, and one cries out:
"Arise, what dost thou?"  As the chosen three,
On Tabor's mount, admitted to behold
The blossoming of that fair tree, whose fruit
Is coveted of angels, and doth make
Perpetual feast in heaven, to themselves
Returning at the word, whence deeper sleeps
Were broken, that they their tribe diminish'd saw,
Both Moses and Elias gone, and chang'd
The stole their master wore: thus to myself
Returning, over me beheld I stand
The piteous one, who cross the stream had brought
My steps.  "And where," all doubting, I exclaim'd,
"Is Beatrice?"--"See her," she replied,
"Beneath the fresh leaf seated on its root.
Behold th' associate choir that circles her.
The others, with a melody more sweet
And more profound, journeying to higher realms,
Upon the Gryphon tend."  If there her words
Were clos'd, I know not; but mine eyes had now
Ta'en view of her, by whom all other thoughts
Were barr'd admittance.  On the very ground
Alone she sat, as she had there been left
A guard upon the wain, which I beheld
Bound to the twyform beast.  The seven nymphs
Did make themselves a cloister round about her,
And in their hands upheld those lights secure
From blast septentrion and the gusty south.

"A little while thou shalt be forester here:
And citizen shalt be forever with me,
Of that true Rome, wherein Christ dwells a Roman
To profit the misguided world, keep now
Thine eyes upon the car; and what thou seest,
Take heed thou write, returning to that place."

Thus Beatrice: at whose feet inclin'd
Devout, at her behest, my thought and eyes,
I, as she bade, directed.  Never fire,
With so swift motion, forth a stormy cloud
Leap'd downward from the welkin's farthest bound,
As I beheld the bird of Jove descending
Pounce on the tree, and, as he rush'd, the rind,
Disparting crush beneath him, buds much more
And leaflets.  On the car with all his might
He struck, whence, staggering like a ship, it reel'd,
At random driv'n, to starboard now, o'ercome,
And now to larboard, by the vaulting waves.

Next springing up into the chariot's womb
A fox I saw, with hunger seeming pin'd
Of all good food.  But, for his ugly sins
The saintly maid rebuking him, away
Scamp'ring he turn'd, fast as his hide-bound corpse
Would bear him.  Next, from whence before he came,
I saw the eagle dart into the hull
O' th' car, and leave it with his feathers lin'd;
And then a voice, like that which issues forth
From heart with sorrow riv'd, did issue forth
From heav'n, and, "O poor bark of mine!" it cried,
"How badly art thou freighted!"  Then, it seem'd,
That the earth open'd between either wheel,
And I beheld a dragon issue thence,
That through the chariot fix'd his forked train;
And like a wasp that draggeth back the sting,
So drawing forth his baleful train, he dragg'd
Part of the bottom forth, and went his way
Exulting.  What remain'd, as lively turf
With green herb, so did clothe itself with plumes,
Which haply had with purpose chaste and kind
Been offer'd; and therewith were cloth'd the wheels,
Both one and other, and the beam, so quickly
A sigh were not breath'd sooner.  Thus transform'd,
The holy structure, through its several parts,
Did put forth heads, three on the beam, and one
On every side; the first like oxen horn'd,
But with a single horn upon their front
The four.  Like monster sight hath never seen.
O'er it methought there sat, secure as rock
On mountain's lofty top, a shameless whore,
Whose ken rov'd loosely round her.  At her side,
As 't were that none might bear her off, I saw
A giant stand; and ever, and anon
They mingled kisses.  But, her lustful eyes
Chancing on me to wander, that fell minion
Scourg'd her from head to foot all o'er; then full
Of jealousy, and fierce with rage, unloos'd
The monster, and dragg'd on, so far across
The forest, that from me its shades alone
Shielded the harlot and the new-form'd brute.

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Blake's Illustrations of Dante

This is the last of the Purgatory series.

Other 'Blake Illustrations'address Paradise.