Even within the context of Blake’s canon, The Marriage of Heaven and Hell stands out for its combination of genres (e.g., poetry and prose, Menippean satire and cultural history) and its heterodox perspectives. Through the voice of the “Devil,” Blake parodies and attacks the theology of Emanuel Swedenborg, the cosmology and ethics of Milton’s Paradise Lost, and biblical history and morality as constructed by the “Angels” of the established church and state. Energy and passion are positively valorized; reason and temperance are characterized as restraints on spiritual insight and self-expression. The concluding three plates (25-27), “A Song of Liberty,” announce the coming revolution.(Text from the William Blake Archive, with thanks.)

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mp3 Peyton Jones Dramatisation Audio Visual ofThe Marriage of Heaven and Hell with introduction
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