The Marriage of Heaven and Hell — Reading Companion
Edition facts
This digital edition of The Marriage of Heaven and Hell — Reading Companion is described by source-level measurements including 7,750 words, 34 min estimated reading time, and 1 detected text section.
The text analysis averages about 20.9 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Mysticism,” connecting these edition facts with the source record’s subject description.
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- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
One thought fills immensity.
Always be ready to speak your mind, and a base man will avoid you.
Everything possible to be believed is an image of truth.
The eagle never lost so much time as when he submitted to learn of the crow.
The fox provides for himself, but God provides for the lion.
Think in the morning, act in the noon, eat in the evening, sleep in the night.
He who has suffered you to impose on him knows you.
As the plough follows words, so God rewards prayers.
The tigers of wrath are wiser than the horses of instruction.
Expect poison from the standing water.
You never know what is enough unless you know what is more than enough.
Listen to the fool's reproach; it is a kingly title.
The eyes of fire, the nostrils of air, the mouth of water, the beard of earth.
The weak in courage is strong in cunning.
The apple tree never asks the beech how he shall grow, nor the lion the horse how he shall take his prey.
The thankful receiver bears a plentiful harvest.
If others had not been foolish we should have been so.
The soul of sweet delight can never be defiled.
When thou seest an eagle, thou seest a portion of Genius. Lift up thy head!
As the caterpillar chooses the fairest leaves to lay her eggs on, so the priest lays his curse on the fairest joys.
To create a little flower is the labour of ages.
Damn braces; bless relaxes.
The best wine is the oldest, the best water the newest.
Prayers plough not; praises reap not; joys laugh not; sorrows weep not.
The head Sublime, the heart Pathos, the genitals Beauty, the hands and feet Proportion.
As the air to a bird, or the sea to a fish, so is contempt to the contemptible.
The crow wished everything was black; the owl that everything was white.
Exuberance is Beauty.
If the lion was advised by the fox, he would be cunning.
Improvement makes straight roads, but the crooked roads without Improvement are roads of Genius.
Sooner murder an infant in its cradle than nurse unacted desires.
Where man is not, nature is barren.
Truth can never be told so as to be understood and not to be believed.
The ancient poets animated all sensible objects with Gods or Geniuses, calling them by the names and adorning them with properties of woods, rivers, mountains, lakes, cities, nations, and whatever their enlarged and numerous senses could perceive. And particularly they studied the Genius of each city and country, placing it under its mental deity. Till a system was formed, which some took advantage of and enslaved the vulgar by attempting to realize or abstract the mental deities from their objects. Thus began Priesthood. Choosing forms of worship from poetic tales. And at length they pronounced that the Gods had ordered such things. Thus men forgot that all deities reside in the human breast.
The Prophets Isaiah and Ezekiel dined with me, and I asked them how they dared so roundly to assert that God spoke to them, and whether they did not think at the time that they would be misunderstood, and so be the cause of imposition.
Isaiah answered: "I saw no God, nor heard any, in a finite organical perception: but my senses discovered the infinite in everything; and as I was then persuaded, and remained confirmed, that the voice of honest indignation is the voice of God, I cared not for consequences, but wrote."
Then I asked: "Does a firm persuasion that a thing is so, make it so?"
He replied: "All poets believe that it does, and in ages of imagination this firm persuasion removed mountains; but many are not capable of a firm persuasion of anything."
Then Ezekiel said: "The philosophy of the East taught the first principles of human perception; some nations held one principle for the origin, and some another. We of Israel taught that the Poetic Genius (as you now call it) was the first principle, and all the others merely derivative, which was the cause of our despising the Priests and Philosophers of other countries, and prophesying that all Gods would at last be proved to originate in ours, and to be the tributaries of the Poetic Genius. It was this that our great poet King David desired so fervently, and invokes so pathetically, saying by this he conquers enemies and governs kingdoms; and we so loved our God that we cursed in His name all the deities of surrounding nations, and asserted that they had rebelled. From these opinions the vulgar came to think that all nations would at last be subject to the Jews.
Blake opens with a terse, prophetic argument: 'Rintrah roars and shakes his fires in the burden’d air.' The voice is oracular, yet the poem immediately grounds its abstractions in concrete images—'hungry clouds swag on the deep,' 'roses are planted where thorns grow.' This juxtaposition of elemental force and precise natural detail sets the pattern for a work that systematically inverts received religious and moral categories. The speaker does not argue so much as declare, using a syntax that feels both ancient and immediate.
The Voice of the Devil and the Structure of Contraries
The core of Blake’s argument appears in the section titled 'The Voice of the Devil,' where he lists three 'errors' in sacred codes and three 'contraries' that are true. The phrasing is blunt and categorical: 'Man has no Body distinct from his Soul. For that called Body is a portion of Soul discerned by the five senses.' The prose is stripped of ornament, relying on repetition and parallelism to drive home a redefinition of energy, reason, and desire. Blake does not merely assert; he redefines key terms, making 'Energy' synonymous with 'Eternal Delight' and reason its 'bound or outward circumference.' This section functions as a manifesto, but its power lies in the compression of complex theology into aphoristic, almost legalistic statements.
Dialogues and the Dramatization of Conflict
Blake stages several 'Memorable Fancies'—dialogues between an Angel and a Devil that enact the clash of perspectives. In one, the Devil accuses Swedenborg of having 'not written one new truth' and of being 'incapable through his conceited notions' to converse with Devils. The Angel’s responses are marked by a shift in color: 'almost blue, but mastering himself he grew yellow, and at last white-pink and smiling.' This chromatic progression is a rare physical detail that externalizes the Angel’s emotional struggle. The Devil’s retort—'Bray a fool in a mortar with wheat, yet shall not his folly be beaten out of him'—draws on proverbial language to undercut the Angel’s appeal to Jesus and the Ten Commandments. Blake’s dialogue is not balanced debate but a series of rhetorical reversals, where the Devil consistently reframes biblical examples to support impulse over rule.
Allusion and the Rewriting of Literary Tradition
Blake’s engagement with earlier texts is explicit and combative. He cites Paradise Lost to argue that 'the Governor or Reason is called Messiah' and that the original archangel 'is called the Devil, or Satan.' This is not a reading of Milton but a polemical inversion: Blake treats Milton’s epic as a historical document that has been 'adopted by both parties.' Similarly, Swedenborg is dismissed as an 'angel sitting at the tomb' whose writings are 'the linen clothes folded up.' The allusions are woven into the argument, not decorative. Blake also invokes Paracelsus, Jacob Behmen, Dante, and Shakespeare as authorities whose works could generate 'ten thousand volumes of equal value with Swedenborg’s.' The effect is to place his own text in a lineage of visionary writers while rejecting systematic theology.
The Bible of Hell and the Politics of Reading
Near the end, Blake introduces the concept of reading the Bible 'in its infernal or diabolical sense,' and promises 'the Bible of Hell, which the world shall have whether they will or no.' This is not a casual metaphor but a programmatic statement. Throughout the work, Blake performs such a reading: Jesus is presented as a breaker of the Ten Commandments, acting 'from impulse, not from rules.' The final note—'One law for the lion and ox is Oppression'—condenses the political dimension of Blake’s project. The poem’s structure, with its numbered propositions, biblical parodies, and prophetic tone, mimics the forms it seeks to subvert. The reader is invited not to accept a new dogma but to participate in a continual reversal of established meanings.
Blake’s Marriage resists summary because its method is dialectical: each assertion is paired with its opposite, and the reader must hold both in tension. The work is best approached as a series of provocations rather than a linear argument. Pay attention to the shifts in voice—from aphorism to dialogue to lyric—and to the way Blake uses biblical and literary references as raw material for his own mythology. The poem’s brevity (under 8,000 words) rewards rereading, as its compressed statements open into unexpected implications.
That afternoon, rain blurred the window as Blake’s aphorisms kept circling back to an old ache for wholeness—energy and reason quarrelling like weather. I set the companion down, and my hand drifted to The New Jerusalem — A Closer Reading, almost without thinking. Its quieter tone felt like the calm after Blake’s storm, the same question asked gently.
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