He with the Name we mention not, save in utter adoration;
the Youth of Endless Summers, the Light of Life itself, the Wondrous One, the Ancient One, Lord of Venusian Love, the great
Kumara with the Flaming Sword, the Peace of all the Earth. Sits he alone, this Wondrous One, upon his sapphire throne?
"And there was under his feet (of the God of Israel)
as it were a paved work of a sapphire-stone" (Exodus xxiv. 10). Under the crescent is the heaven of Brahma, all paved with
sapphires. The paradise of Indra is resplendent with a thousand suns; that of Siva (Saturn), is in the northeast; his throne
is formed of lapis-lazuli and the floor of heaven is of fervid gold. "When he sits on the throne he blazes with fire up to
the loins." SD. HPB.
of Days -- Antiquus Altus. HPB.
of the KING. IHS 88.
Sacrifice. IHS 106.
"And I looked,
and behold, a whirlwind came out of the north, a great cloud, and a fire infolding itself, and a brightness was about it,"
says Ezekiel (i., 4, 22, etc.), ". . . and the likeness of a throne . . . and as the appearance of a man above upon it . .
. and I saw as it were the appearance of fire and it had brightness round about it." And Daniel speaks of the "ancient of
days," the kabalistic En-Soph, whose throne was "the fiery flame, his wheels burning fire. . . . A fiery stream issued and
came forth from before him. IU 271.
And he was
great and mighty and 'Ancient of Days,' until he swallowed all the other fishes in the (Great) Sea . . . 'Thou art the Son
of the Holy Flame. SD1 394.
Life, the Ancient of Days, the Lord of the world, Sanat Kumara, the Eternal Youth, the planetary Logos - His many names are
of relative unimportance - is the only Existence upon our planet Who is capable of responding to and carrying out the objectives
of the solar Logos. EA 612.
King of Salem, Priest of the Most High God ...was, in the first place, as His Name means, King of Righteousness, and besides
that, King of Salem (that is King of Peace). Being without father or mother or ancestry, having neither beginning of days
nor end of life... He remains a priest in perpetuity.)" - Hebrews, VII, 1-4, Weymouth Translation. BC 43.
He is the
greatest of all the Avatars, or Coming Ones. IHS 28.
He is the
Custodian of the will of the Great White Lodge on Sirius. RI 130.
His own Mind, radiates the highest quality of love and focuses His Will in His Own high Place within the center where the
Will of God is known." RC 13.
too, he meets with initiates of lesser degree, but only at times of great crises, when some individual is given the opportunity
to bring peace out of strife, and to kindle a blaze whereby rapidly crystallizing forms are destroyed and the imprisoned life
consequently set free. IHS 106.
Kumara, the Eternal Youth, can be seen by Those Who have the right, presiding, for instance, over the Council in Shamballa.
Poet / Artist
As: Mystic English poet.
started writing poems as a boy, many of them inspired by religious visions. Apprenticed to an engraver as a young man, Blake
learned skills that allowed him to put his poems and drawings together on etchings, and he began to publish his own work.
Throughout his life he survived on small commissions, never gaining much attention from the London art world. His paintings
were rejected by the public (he was called a "lunatic" for his imaginative work), but he had a profound influence on Romanticism
as a literary movement.
a prosperous hosier, encouraged young Blake's artistic tastes and sent him to drawing school. At 14 he was apprenticed to
James Basire, an engraver, with whom he stayed until 1778. After attending the Royal Academy, where he rebelled against the
school's stifling atmosphere, he set up as an engraver. In 1782 he married Catherine Boucher, whom he taught to read, write,
and draw. She became his inseparable companion, assisting him in nearly all his work.
except for three years at Felpham where he prepared illustrations for an edition of Cowper, was spent in London. Poetical
Sketches (1783), his first book, was the only one published conventionally during his lifetime. He engraved and published
all his other major poetry himself (the rest remained in manuscript), for which he originated a method of engraving text and
illustration on the same plate. Neither Blake's artwork nor his poetry enjoyed commercial or critical success until long after
Work in the
and engravings, notably his illustrations of his own works, works by Milton, and of the Book of Job, are painstakingly realistic
in their representation of human anatomy and other natural forms. They are also radiantly imaginative, often depicting fanciful
creatures in exacting detail. Nearly unknown during his life, Blake was generally dismissed as an eccentric or worse long
thereafter. His following has gradually increased, and today he is widely appreciated as a visual artist and as a poet.
of Innocence (1789) and Songs of Experience (1794) the world is seen from a child's point of view, directly and simply but
without sentimentality. In the first group, which includes such poems as “The Lamb,” “Infant Joy,”
and “Laughing Songs,” both the beauty and the pain of life are captured. The latter group, which includes “The
Tyger,” “Infant Sorrow,” “The Sick Rose,” and “London,” reveal a consciousness of
cruelty and injustice in the world, for which people, not fate, are responsible. As parables of adult life the Songs are rich
in meaning and implication.
Books combine poetry, vision, prophecy, and exhortation. They include The Book of Thel (1789), The Marriage of Heaven and
Hell (c.1790), The French Revolution (1791), America (1793), Europe (1794), The Book of Urizon (1794), The Book of Los (1795),
Milton (1804–8), and Jerusalem (1804–20). These comprise no less than a vision of the whole of human life, in
which energy and imagination struggle with the forces of oppression both physical and mental. Blake exalted love and pure
liberty, and abhorred the reductive, rationalist philosophy that served to justify the political and economic inequities attendant
upon the Industrial Revolution.
Books are founded in the real world, as are Blake's passions and anger, but they appear abstruse because they are ordered
by a mythology devised by the poet, which draw from Swedenborg, Jacob Boehme, and other mystical sources. Despite this, and
despite the fact that from childhood on Blake was a mystic who thought it quite natural to see and converse with angels and
Old Testament prophets, he by no means forsook concrete reality for a mystical life of the spirit. On the contrary, reality,
whose center was human life, was for Blake inseparable from imagination. The spiritual, indeed God himself, was an expression
of the human
born at 28 Broad Street, Golden Square, London into a middle-class family. His artistic talent was noticed and encouraged
from an early age. At ten years old, he began engraving copies of drawings of Greek antiquities, a practice that was then
preferred to real-life drawing. Four years later he became apprenticed to an engraver, Henry Basire. After two years Basire
sent him to copy art from the Gothic churches in London. At the age of twenty-one Blake finished his apprenticeship and set
up as a professional engraver.
In 1779 he
became a student at the Royal Academy, where he rebelled against what he regarded as the unfinished style of fashionable painters
such as Rubens. He preferred the Classical exactness of Michelangelo and Raphael.
In 1782 Blake
met John Flaxman, who was to become his patron. In the same year he married a poor illiterate girl named Catherine Boucher,
who was five years his junior. Catherine could neither read nor write and even signed her wedding contract with an X. Blake
taught her reading and writing and even trained her as an engraver. At that time, George Cumberland, one of the founders of
the National Gallery, became an admirer of Blake's work.
collection of poems, Poetical Sketches, was published circa 1783. In 1788, at the age of thirty-one, Blake began to experiment
with "relief etching", which was the method used to produce most of his books of poems. Blake wrote in a letter that the method
was revealed to him in a dream of his dead brother, Robert. The process is also referred to as "illuminated printing," and
final products as "illuminated books" or "prints". Illuminated printing involved writing the text of the poems on copper plates
with pens and brushes, using an acid-resistant medium. Illustrations could appear alongside words in the manner of earlier
illuminated manuscripts. He then etched the plates in acid in order to dissolve away the untreated copper and leave the design
standing. The pages printed from these plates then had to be hand-colored in water colors and stiched together to make up
a volume. Blake used illuminated printing for four of his works: the Songs of Innocence and Experience, The Book of Thel,
The Marriage of Heaven and Hell, and Jerusalem. Each of his illuminated books was thus a unique work of art and a radical
break with not only traditional book printing but the traditional means of presenting poetic and philosophical discourse.
Blake seems to have believed, or rather hoped, that self-published books could liberate the artist and author from the tyranny
of censorship by Church and State but its time-consuming nature meant that his most personal and prophetic works reached a
minute audience in his lifetime.
became a friend of the painter John Henry Fuseli.
of the "creator" is a familiar image in the illuminated books of William Blake. Here, Blake depicts an almighty creator stooped
in prayer contemplating the world he has forged. The Song of Los is the third in a series of illuminated books, hand-painted
by Blake and his wife, known as the "Continental Prophecies", considered by most critics to contain some of Blake's most powerful
and political visions
an idiosyncratic view of his Christian religion. In 1789 William and Catherine joined the Swedenborgian New Church. He believed
that the truth was learned by personal revelation, not by teaching. What he called his 'visions' were perhaps hallucinations,
experiences that he allowed to guide his life. It was these that gave him such a strong and uncompromising belief in his own
artistic direction, but also led others to call him eccentric or even mad.
In The Marriage
of Heaven and Hell Blake began to develop his own mythology, which included a pantheon of characters such as Orc, a messiah
and Urizen, a cruel Old Testament-style god. Blake loved Milton's work and tried, as Milton had, to create his own definitions
of heaven and hell. This desire to recreate the cosmos is the heart of his work and his psychology. His myths often described
the struggle between enlightenment and free love on the one hand, and restrictive education and morals on the other. Blake
believed himself a prophet of a New Age, and his identification with free love and democracy has helped to make him a hero
of many modern artists. The poet W. B. Yeats admired Blake's spiritualism and helped to popularise him in the 20th century.
Judgement is a work in which Blake sums up and illustrates all the mythology that he has created.
have been made to categorise Blake. Not least of them is the effort to dub him a 'Gnostic', based on several similarities
between his mythology and that of the Christian Gnostics whose main period of proliferation ran through the first three centuries
A.D. Blake himself was said to be aware of Gnostic mythology, and to have deliberately drawn on it in the creation of his
personal myths. For example, Blake's figure 'Urizen' - who makes an appearance in his famous painting 'The Ancient of Days'
- may be likened in many respects to the Gnostic demiurge. However, efforts to deem Blake a 'modern Gnostic' have been hampered
by the complexities of Blake's own mythology, as well as the variety of Gnostic myths on offer.
to Catherine remained a close and devoted one until his death. There were early problems, however, such as Catherine's illiteracy
and the couple's failure to produce children. At one point, in accordance with the beliefs of the Swedenborgian Society, Blake
suggested bringing in a concubine. Catherine was distressed at the idea, and he dropped it. Later in life, the pair seem to
have settled down, and their apparent domestic harmony in middle age is better documented than their early difficulties.
as a divine geometer (1795)Later in his life Blake sold a great number of works, particularly his Bible illustrations, to
Thomas Butts, a patron who saw Blake more as a friend in need than an artist. Geoffrey Keynes, a biographer, described Butts
as 'a dumb admirer of genius, which he could see but not quite understand.' Dumb or not, we have him to thank for eliciting
and preserving so many works.
Blake moved to a cottage at Felpham in Sussex (now West Sussex) to take up a job illustrating the works of William Hayley,
a mediocre poet. It was in this cottage that Blake wrote Milton: a Poem (which was published later between 1804 and 1808).
The preface to this book included the poem And did those feet in ancient time, which Blake decided to discard for later editions.
This is ironic, because as the words to the hymn Jerusalem, this is now one of Blake's most well-known if not well-understood
to London in 1802 and began to write and illustrate Jerusalem (1804-1820). He was introduced by George Cumberland to a young
artist named John Linnell. Through Linnell he met Samuel Palmer, who belonged to a group of artists who called themselves
the 'Shoreham Ancients'. This group shared Blake's rejection of modern trends and his belief in a spiritual and artistic New
Age. Blake benefited from this group technically, by sharing in their advances in watercolour painting, and personally, by
finding a receptive audience for his ideas.
At the age
of sixty-five Blake began work on illustrations for the Book of Job. These works were later admired by John Ruskin, who compared
Blake favourably to Rembrandt.
died in 1827 and was buried in an unmarked grave at Bunhill Fields, London. In recent years, a proper memorial was erected
for him and his wife.
He died while
still hard at work. His last work was said to be a sketch of his wife. Perhaps Blake's life is summed up by his statement
that "The imagination is not a State: it is the Human existence itself."
Blessed Holy One is aroused to delight Himself with the righteous, the Face of the Ancient of Days shines into the face of
the Impatient One. Its Forehead is revealed and shines to this forehead. Then it is called 'a time of favor' (Psalms 69:14).
Whenever Judgment looms and the forehead of the Impatient One is revealed, the Forehead of the Ancient of Ancients is revealed;
Judgment subsides and is not executed." Idra Rabba, Zohar 3:136b
Ancient of Days originates in the Old Testment Book by the Prophet Daniel (7:9, 13, 22):
7:9 I beheld
till the thrones were cast down, and the Ancient of days did sit, whose garment was white as snow, and the hair of his head
like the pure wool: his throne was like the fiery flame, and his wheels as burning fire.
saw in the night visions, and, behold, one like the Son of man came with the clouds of heaven, and came to the Ancient of
days, and they brought him near before him, and there was given him dominion, and glory, and a kingdom, that all people, nations,
and languages, should serve him: his dominion is an everlasting dominion, which shall not pass away, and his kingdom that
which shall not be destroyed.
beheld, and the same horn made war with the saints, and prevailed against them, until the Ancient of days came, and judgment
was given to the Saints of the most High; and the time came that the saints possessed the kingdom.
set a compass upon the face of the deep."
William Croswell Doane, 1886, 1892.
Days, who sittest throned in glory,
To Thee all
knees are bent, all voices pray;
has blessed the wide world's wondrous story
and life since Eden's dawning day.
O Holy Father,
Who hadst led Thy children
In all the
ages, with the fire and cloud,
dry shod, through weary wastes bewildering;
in reverent love, our hearts are bowed.
O Holy Jesus,
Prince of Peace and Savior,
To Thee we
owe the peace that still prevails,
the rude wills of men's wild behavior,
passion's fierce and stormy gales.
O Holy Ghost,
the Lord and the Lifegiver,
the quickening power that gives increase;
have flowed, as from a pleasant river,
wealth, prosperity and peace.
God, with heart and voice adoring,
the goodness that doth crown our days;
Pray we that
Thou wilt hear us, still imploring
and favor kept to us always.
up unto the Ancient Of Days:
stars shine bright
Not one shines
brighter than the
shines from thee,
No, no Sun
ever shone a more radiant light
glorious Sun that shines from thee!
Oh! No love
yearned more deeply
burning love that dwells within me.
a thousand trillion flames have left the Sun,
Will ever travel further, or shall burn more intense
flame of loves incense, that burns inside of me.
My Soul of
Souls, my love of loves
So it burns
eternal, oh exquisite and divine
Lord eternal, Master of all Time.
JPC Aug 92.
It cuts the
crystallizing sphere with all its myriad forms; it pierces through the watery plane, washed by the swirling tides; it passes
through the nethermost hell, down into densest maya, and ends within the latent fire, the molten lake of fiercest burning,
touching the denizens of fire, the Agnichaitans of the scarlet heat.
the ladder's length? Where is its consummation?
through the radiant spheres, through all their six divisions. It riseth to the mighty Seat within the final fifth, and passeth
from that mighty Seat to yet another greater.
upon that mighty Seat within the final fifth?
He with the
Name we mention not, save in utter adoration; the Youth of Endless Summers, the Light of Life itself, the Wondrous One, the
Ancient One, Lord of Venusian Love, the great Kumara with the Flaming Sword, the Peace of all the Earth.
Sits he alone,
this Wondrous One, upon his sapphire throne?
sits alone, yet close upon the rainbow steps there stand three other Lords, garnering the product of their work and sacrificing
all their gain to aid the Lord of Love.
assisted in their work? Do other Ones of greater powers than ours stand too upon the ladder?
Four, Action and Love, in wise cooperation work with their Brothers of a lesser grade, the three Great Lords we know.
Who aid these
mighty Lords? Who carry on their work, linking the lower with the higher?
of Logoic Love in all their many grades. They stay within the final fifth till it absorbeth all the fourth.
the ladder then?
To the greatest
Lord of all, before whom e'en that Ancient One bends in obeisance low; before whose throne of effulgent light Angels of highest
rank, Masters and Lords of uttermost compassion, prostrate themselves and humbly bend, waiting the Word to rise.
that Word and what transpires when it echoes through the spheres?
sounds not till all is done, until the Lord of endless love deemeth the work correct. He uttereth then a lesser Word that
vibrateth through the scheme. The greater Lord of cosmic Love, hearing the circling sound, addeth completion to the chord,
and breathet forth the whole.
be seen, 0 Pilgrim on the Way, when sounds that final chord?
The music of the endless spheres, the merging
of the seven; the end of tears, of sin, of strife, the shattering of forms; the finish of the ladder, the blending in the
All, completion of the circling spheres and their entry into peace. IHS 212.