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| | <h3><center>Лист 22</center></h3> | | <h3><center>Лист 22</center></h3> |
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| | <h3><center>[[s:en:Jerusalem. The Emanation of the Giant Albion/Plate 22|Plate 22]]</center></h3> | | <h3><center>[[s:en:Jerusalem. The Emanation of the Giant Albion/Plate 22|Plate 22]]</center></h3> |
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| | [[Файл:Blake Jerusalem Plate 22 copy E.jpg|center|400px|thumb|<center>Jerusalem The Emanation of The Giant Albion, copy E, object 22 (Bentley 22, Erdman 22, Keynes 22)</center>]] | | [[Файл:Blake Jerusalem Plate 22 copy E.jpg|center|400px|thumb|<center>Jerusalem The Emanation of The Giant Albion, copy E, object 22 (Bentley 22, Erdman 22, Keynes 22)</center>]] |
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| | {{poemx1|| | | {{poemx1|| |
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| − | «О Альбион, я вся дрожу, твоими страхами окружена, | + | «О Альбион, твоими страхами окружена, я вся дрожу! |
| − | Твои сыны меня распяли, руки, ноги пригвоздив к вратам,
| + | Когда сыны твои меня распяли на вратах своих, |
| − | Но Скоффилдов Нимрод пришёл – сей сильный зверолов пред Иеговой,
| + | Явился Скоффилдов Нимрод — сей сильный зверолов пред Иеговой, |
| − | И с сыном Хушем снял меня с распятья; в золотом ковчеге
| + | Он с сыном Хушем снял меня с распятья и принёс |
| − | {{nr|5}} Принёс меня он к армиям своим – здесь тень мою ты зришь. | + | {{nr|5}} К своим войскам в златом ковчеге, и хотя здесь тень моя парит, |
| − | Плоть миллионов с ранних дней была моею пищей, | + | Плоть множества живых меня с рождения вскормила — |
| | Готовилась моя еда в кровавых битвах человека. | | Готовилась моя еда в кровавых битвах человека. |
| | О как прекрасен лай Нимродовых собак в долине | | О как прекрасен лай Нимродовых собак в долине |
| − | Видения, когда над нею дух войны витает –
| + | Видений — в час, когда над нею вьётся дух войны. |
| − | {{nr|10}} Любовь побеждена! Здесь ненависть царит взамен любви, | + | {{nr|10}} Любовь побеждена! Здесь ненависть царит взамен любви, |
| − | А долг и право восторжествовали над свободой. | + | А долг и право торжествуют над свободой. Для меня |
| − | Ты для меня любимейшим был сыном неба, но теперь | + | Ты был любимым сыном неба, но теперь как мне укрыться |
| − | Куда укроюсь я от твоего лица, от ищущего взора?
| + | От ужаса в твоём лице, от ищущего взора? |
| | И в душу заглянув того, кого я так любила, | | И в душу заглянув того, кого я так любила, |
| − | {{nr|15}} Грех прозреваю в тайном уголке, и не могу вернуться». | + | {{nr|15}} Грех прозреваю в тайном уголке, и не могу вернуться». |
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| − | И Альбион вновь подал голос под луной безмолвной: | + | И Альбион вновь подал голос под луной безмолвной: |
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| | «При свете дня узрел я гордую и чистую красу любимой. | | «При свете дня узрел я гордую и чистую красу любимой. |
| Строка 66: |
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| | И отвечала Иерусалим: «О Альбион, отец мой, | | И отвечала Иерусалим: «О Альбион, отец мой, |
| − | {{nr|20}} Зачем, скажи ты фибры все души моей пересчитал | + | {{nr|20}} Что сделал ты с душой моей? Все фибры из неё ты вынул |
| − | И, словно лён их разложил на солнце для просушки? | + | И, словно лён, их разложил на солнце для просушки! |
| − | Прекрасна радость детская, но анатомия её | + | Прекрасна радость детская, но если вскрыть её, |
| − | Ужасна и мертва, и ничего ты в ней не сыщешь,
| + | Смертельным ужасом она тебя ошеломит. |
| − | Лишь мрачное отчаянье и вечную тоску!» | + | Что в ней отыщешь ты? Лишь мрак отчаянья и скорби!» |
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| − | {{nr|25}} И повернувшись к Иерусалим, так молвил Альбион: | + | {{nr|25}} И повернувшись к Иерусалим, так молвил Альбион: |
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| | «О скройся, Иерусалим, в неосязаемую бездну, пусть никто | | «О скройся, Иерусалим, в неосязаемую бездну, пусть никто |
| | Рукой к тебе не прикоснётся, оком не узрит, | | Рукой к тебе не прикоснётся, оком не узрит, |
| − | Так, будто нет тебя, чтоб места твоего никто б не обнаружил.
| + | Как будто нет тебя, и никогда никто тебя не обнаружит. |
| | А ты, о Вала, нож возьми и выпусти мне кровь | | А ты, о Вала, нож возьми и выпусти мне кровь |
| − | {{nr|30}} Всю до последней капли! Скрой меня в кровавой скинии твоей, | + | {{nr|30}} Всю до последней капли! Скрой меня в кровавой скинии твоей, |
| | Я Луву мною убиенного зрю в призраке моём | | Я Луву мною убиенного зрю в призраке моём |
| − | Как зрю я Иерусалим в тебе, туманной и холодной...» | + | Как зрю я Иерусалим в тебе, туманной и холодной…» |
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| | И руку протянув к луне, так вопрошала Иерусалим: | | И руку протянув к луне, так вопрошала Иерусалим: |
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| − | «Зачем завесу наказанье ткёт железными колёсами войны? – | + | «Зачем завесу Наказанье ткёт железными колёсами войны? — |
| − | {{nr|35}} Её должно свивать прощение крылами херувимов!» | + | {{nr|35}} Когда её должно свивать Прощение крылами херувимов!» |
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| | И долгий Альбиона стон пронёсся над горами: | | И долгий Альбиона стон пронёсся над горами: |
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Строка 141: |
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| − | [[File:Blake Jerusalem Plate 21 copy E bottom detail.jpg|center|700px|thumb|<center>The design is related to lines 28-30.</center>]] | + | [[File:Blake Jerusalem Plate 22 copy E bottom detail.jpg|center|700px|thumb|<center>The design is related to lines 34-35.</center>]] |
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| | == Примечания == | | == Примечания == |
| | {{примечания}} | | {{примечания}} |
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| − | ''Лист 22.'' Текст украшен летающими птицами (справа от текста) и ангелоподобными фигурами. Две разлетающиеся в разные стороны фигуры ангела и женщины вверху над текстом трактуются комментаторами по разному: как спектр и эманация (Дэймон), Вала и Альбион (Уикстид и Эрдман), Вала и Иерусалим (Грант), Леда и Лебедь (Стивенсон). Четыре ангела (или вернее четыре группы, в каждой из которых угадывается по три ангела, так что их здесь всего двенадцать) изображены внизу под текстом. Они парят над тремя пылающими зубчатыми «железными колёсами войны», на три четверти погружёнными в воду, что особенно ясно изображено в копии “E”. Рисунок этот относится к строкам 34-35: | + | ''Лист 22.'' Текст украшен летающими птицами (справа) и ангелоподобными фигурами. Две разлетающиеся в разные стороны фигуры ангела и женщины вверху над текстом трактуются комментаторами по-разному: как спектр и эманация ''(Дэймон)'', Вала и Альбион ''(Уикстид и Эрдман)'', Вала и Иерусалим ''(Грант)'', Леда и Лебедь ''(Стивенсон)''. Внизу под текстом изображены четыре ангела (или вернее четыре группы, в каждой из которых угадывается по три ангела, так что их здесь всего двенадцать). Они парят над тремя пылающими зубчатыми «железными колёсами войны», на три четверти погружёнными в воду, что особенно ясно показано в копии “E”. Рисунок этот относится к строкам 34-35: |
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| | {{poemx1||Why should Punishment Weave the Veil with Iron Wheels of War | | {{poemx1||Why should Punishment Weave the Veil with Iron Wheels of War |
| | When Forgiveness might it Weave with Wings of Cherubim | | When Forgiveness might it Weave with Wings of Cherubim |
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| − | «Зачем Наказание Свивает Вуаль Железными Колесами Войны, | + | «Зачем Наказание Свивает Завесу Железными Колесами Войны, |
| − | Тогда как Прощение должно Свивать её о Крыльями Херувимов?»|}} | + | Тогда как Прощение должно Свивать её Крыльями Херувимов?»|}} |
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| − | 1-24. Многие строки диалога Валы и Иеруcалим ''(1, 10-12, 14-15, 20-24)'' в переработанном виде перенесены сюда из поэмы ''«Четыре Зоа» (Ночь первая, 4),'' где они произносятся Энион и Тармасом. | + | 1-24. Многие строки диалога Валы и Иеруcалим ''(1, 10-12, 14-15, 20-24)'' в переработанном виде перенесены сюда из поэмы ''«Четыре Зоа» (Ночь первая, 4)'', где они произносятся Энион и Тармасом. |
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| + | |
| − | 3-4. ''«...Скоффилдов Нимрод пришёл – сей сильный зверолов пред Иеговой, / И с сыном Хушем снял меня с распятья».'' – Библейский Хуш не сын, а отец Нимрода. Выражение «Скоффилдов Нимрод» можно объяснить тем, что Блейк ассоциирует Скоффилда с Адамом, называя его земным отцом всех своих братьев ''(7:42-43),'' и таким образом, Нимрод, названный Блейком сыном Кобана ''(7:19),'' оказывается внуком Скоффилда. См. Нимрод.
| + | 2. Сыновья Альбиона, практикующие друидическую религию, пригвоздили Валу за руки и за ноги к воротам своего города, чтобы принести её в жертву своим богам и тем самым подчинить себе силы природы. |
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| − | == Ссылки ==
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| − | * [http://www.blakearchive.org/exist/blake/archive/erdgen.xq?id=b1.16 www.blakearchive.org Электронный текст из издания Эрдмана]
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| − | <small>© Д. Смирнов-Садовский. Перевод. Комментарии.</small>
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| − | {{CC-BY-NC-ND}}
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| − | Узрев паденье Альбиона в Ламбета долины,
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| − | Изумлены! Испуганы! они парили над гигантским телом,
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| − | Пока вуаль из слёз сплетала Вала, Иерусалим рыдала,
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| − | Опутана отчаяньем, в мольбах любовных.
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| − | {{nr|5}} «Почто ты в зиму человечьей жизни заключил меня?
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| − | Всю сладость юности отняв, все радости девичьи,
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| − | Жизнь, где забыты заблужденья, где не знают зла,
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| − | Средь агнцев и ручьёв и сладких песен птичьих,
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| − | Где наслаждаются невинностью пред Агнцем Божьим,
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| − | {{nr|10}} Танцуя вкруг него в лучах его любви и ласки?»
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| − | Дрожа и плача, скрывшись под вуалью, отвечала Вала
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| − | «Когда зима приносит голод в дом и снегом заметает
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| − | Дороги человека и звериную тропу,
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| − | И путник, с грустью сожалея о своих блужданьях, зрит
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| − | {{nr|15}} Далёкий лес; когда раб стонет в каменной темнице,
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| − | Или батрак на мельнице, что нанят за гроши –
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| − | Все вспоминают жизнь свою и радости былого,
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| − | Развешивая их на нить воспоминаний – скорби нить.
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| − | Ты мне сестра и дочь, твой стыд я разделяю!
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| − | {{nr|20}} Не спрашивай меня, ты знаешь все мои печали!»
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| − | В ответ в слезах рекла ей из долины Иерусалим:
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| − | «О Вала, что есть грех? О чём дрожишь и плачешь
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| − | Передо мной, любимицей своей? И разве грех не малая ошибка,
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| − | Которую легко прощают? Разве милосердье – грех?
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| − | {{nr|25}} Или любовь, и жалость и прощенье? Если грех на мне,
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| − | Прости и пожалей! Укрой меня вуалью милосердья и любви!
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| − | Чад малых не губи моих, о дева милая, дщерь Вавилона!
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| − | Их детскую любовь и благость пожалей, Моава дщерь прекрасная!
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| − | Не сбросить человечьей стати мне – стараюсь я, но тщетно
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| − | {{nr|30}} С тех пор, как Альбион взял сеть твою серебряно-златую,
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| − | Что ты свила искусно и дала меня поймать в любви тенёта,
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| − | И ты меня не отпускаешь! Альбион узрел твою красу,
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| − | Любовью нашей озарённую и жалостью прекрасной.
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| − | И свет твой озарил вуаль перед его очами,
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| − | {{nr|35}} В ней есть и жалость и любовь – любовь друг к другу наша!
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| − | Тебя любил он и, порвав твою вуаль, с любовью обнимал!
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| − | Изумлена его красой и совершенством, ты его любовь простила.
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| − | Я вышла из груди его в своей красе девичьей,
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| − | И Божий Агнец обнимал меня и улыбался нам,
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| − | {{nr|40}} Меня он взял невестой и женой, тебя ж он отдал Альбиону.
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| − | Тогда была пора любви! Зачем она прошла?»
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| − | И Альбион, прервав молчанье, вымолвил со стоном:
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| − | But when they saw Albion fall'n upon mild Lambeths vale:
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| − | Astonish'd! Terrified! they hover'd over his Giant limbs.
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| − | Then thus Jerusalem spoke, while Vala wove the veil of tears:
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| − | Weeping in pleadings of Love, in the web of despair.
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| − | {{nr|5}} Wherefore hast thou shut me into the winter of human life
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| − | And clos'd up the sweet regions of youth and virgin innocence:
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| − | Where we live, forgetting error, not pondering on evil:
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| − | Among my lambs & brooks of water, among my warbling birds:
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| − | Where we delight in innocence before the face of the Lamb:
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| − | {{nr|10}} Going in and out before him in his love and sweet affection.
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| − | Vala replied weeping & trembling, hiding in her veil.
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| − | When winter rends the hungry family and the snow falls:
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| − | Upon the ways of men hiding the paths of man and beast,
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| − | Then mourns the wanderer: then he repents his wanderings & eyes
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| − | {{nr|15}} The distant forest; then the slave groans in the dungeon of stone.
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| − | The captive in the mill of the stranger, sold for scanty hire.
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| − | They view their former life: they number moments over and over;
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| − | Stringing them on their remembrance as on a thread of sorrow.
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| − | Thou art my sister and my daughter! thy shame is mine also!
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| − | {{nr|20}} Ask me not of my griefs! thou knowest all my griefs.
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| − | Jerusalem answer'd with soft tears over the valleys.
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| − | O Vala what is Sin? that thou shudderest and weepest
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| − | At sight of thy once lov'd Jerusalem! What is Sin but a little
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| − | Error & fault that is soon forgiven; but mercy is not a Sin
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| − | {{nr|25}} Nor pity nor love nor kind forgiveness! O! if I have Sinned
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| − | Forgive & pity me! O! unfold thy Veil in mercy & love!
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| − | Slay not my little ones, beloved Virgin daughter of Babylon
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| − | Slay not my infant loves & graces, beautiful daughter of Moab
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| − | I cannot put off the human form I strive but strive in vain
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| − | {{nr|30}} When Albion rent thy beautiful net of gold and silver twine;
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| − | Thou hadst woven it with art, thou hadst caught me in the bands
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| − | Of love; thou refusedst to let me go: Albion beheld thy beauty
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| − | Beautiful thro' our Love's comeliness, beautiful thro' pity.
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| − | The Veil shone with thy brightness in the eyes of Albion,
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| − | {{nr|35}} Because it inclosd pity & love; because we lov'd one-another!
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| − | Albion lov'd thee! he rent thy Veil! he embrac'd thee! he lov'd thee!
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| − | Astonish'd at his beauty & perfection, thou forgavest his furious love:
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| − | I redounded from Albions bosom in my virgin loveliness.
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| − | The Lamb of God reciev'd me in his arms he smil'd upon us:
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| − | {{nr|40}} He made me his Bride & Wife: he gave thee to Albion.
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| − | Then was a time of love: O why is it passed away!
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| − | Then Albion broke silence and with groans reply'd
| + | 3-4. ''«...Скоффилдов Нимрод пришёл – сей сильный зверолов пред Иеговой, / И с сыном Хушем снял меня с распятья».'' – Библейский Хуш сын Хама и отец Нимрода. Выражение «Скоффилдов Нимрод» можно объяснить тем, что Блейк ассоциирует Скоффилда с Адамом, называя его земным отцом всех своих братьев ''(7:42-43)'', и таким образом, Нимрод, названный Блейком сыном Кобана ''(7:19)'', оказывается внуком Скоффилда. ''См. Нимрод.'' |
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| + | 34-35. Эти две строки проиллюстрированы внизу страницы. |
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| − | == Примечания ==
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| − | {{примечания}}
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| − | ''Лист 20.'' Сверху над текстом помещены две парящие женские фигуры в длинных платьях тесно, голова к голове, приблизились друг к другу. Вероятно, это Иерусалим и Вала. Изображения ниже связаны со «звёздными колёсами», которые представляют собой либо колёса в форме звезды, либо звёзды, действующие как колёса.Их тянут или толкают сыновья Альбиона.
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| − | 11. На вопрос Иерусалим, обращённый к Альбиону, отвечает Вала.
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| − | 28. ''Моав'' или ''Моаб'' (Moab, מואב) – в Библии народ, живший к востоку от Мертвого моря. Часть «злой троицы»: Амалик, Ханаан и Моав. Иерусалим называет здесь Валу: возлюбленная дева, дочь Вавилона... прекрасная дочь Моава» (“beloved Virgin daughter of Babylon... beautiful daughter of Moab”) – и Вавилон и Моав были знамениты своим блудодеянием и распутством.
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| − | <poem>
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| − | <h5>[[Jerusalem. The Emanation of the Giant Albion/Plate 20|PLATE 20]]</h5>
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| − | <h5>[[Jerusalem. The Emanation of the Giant Albion/Plate 21|PLATE 21]]</h5>
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| − | O Vala! O Jerusalem! do you delight in my groans
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| − | You O lovely forms, you have prepared my death-cup:
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| − | The disease of Shame covers me from bead to feet: I have no hope
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| − | Every boil upon my body is a separate & deadly Sin.
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| − | {{nr|5}} Doubt first assaild me, then Shame took possession of me
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| − | Shame divides Families. Shame hath divided Albion in sunder!
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| − | First fled my Sons, & then my Daughters, then my Wild Animations
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| − | My Cattle next, last ev'n the Dog of my Gate. the Forests fled
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| − | The Corn-fields, & the breathing Gardens outside separated
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| − | {{nr|10}} The Sea; the Stars: the Sun: the Moon: drivn forth by my disease
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| − | All is Eternal Death unless you can weave a chaste
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| − | Body over an unchaste Mind! Vala! O that thou wert pure!
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| − | That the deep wound of Sin might be clos'd up with the Needle,
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| − | And with the Loom: to cover Gwendolen & Ragan with costly Robes
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| − | {{nr|15}} Of Natural Virtue, for their Spiritual forms without a Veil
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| − | Wither in Luvahs Sepulcher. I thrust him from my presence
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| − | And all my Children followd his loud howlings into the Deep.
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| − | Jerusalem! dissembler Jerusalem! I look into thy bosom:
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| − | I discover thy secret places: Cordella! I behold
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| − | {{nr|20}} Thee whom I thought pure as the heavens in innocence & fear:
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| − | Thy Tabernacle taken down, thy secret Cherubim disclosed
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| − | Art thou broken? Ah me Sabrina, running by my side:
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| − | In childhood what wert thou? unutterable anguish! Conwenna
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| − | Thy cradled infancy is most piteous. O hide, O hide!
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| − | {{nr|25}} Their secret gardens were made paths to the traveller:
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| − | I knew not of their secret loves with those I hated most,
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| − | Nor that their every thought was Sin & secret appetite
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| − | Hyle sees in fear, he howls in fury over them, Hand sees
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| − | In jealous fear: in stern accusation with cruel stripes
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| − | {{nr|30}} He drives them thro' the Streets of Babylon before my face:
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| − | Because they taught Luvah to rise into my clouded heavens
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| − | Battersea and Chelsea mourn for Cambel & Gwendolen!
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| − | Hackney and Holloway sicken for Estrild & Ignoge!
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| − | Because the Peak, Malvern & Cheviot Reason in Cruelty
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| − | {{nr|35}} Penmaenmawr & Dhinas-bran Demonstrate in Unbelief
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| − | Manchester & Liverpool are in tortures of Doubt & Despair
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| − | Malden & Colchester Demonstrate: I hear my Childrens voices<ref>21:37 Childrens] mended from; childrens</ref>
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| − | I see their piteous faces gleam out upon the cruel winds
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| − | From Lincoln & Norwich, from Edinburgh & Monmouth:
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| − | {{nr|40}} I see them distant from my bosom scoured along the roads
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| − | Then lost in clouds; I hear their tender voices! clouds divide
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| − | I see them die beneath the whips of the Captains! they are taken
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| − | In solemn pomp into Chaldea across the bredths of Europe
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| − | Six months they lie embalmd in Silent death: warshipped<ref>21:44 warshipped] possibly an error for worshipped yet quite possibly a punning coinage. Albion's children “Carried in Arks of Oak” are sailors pressed into naval service (thus “warshipped”); the six months of “silent death” would be the fall-winter quiescence before the spring campaigns, or the long sea voyage to Aboukir Bay. To worship them in this whipped condition (line 42) is to warship them in the oaken “arks” of the British navy; compare the sword-bearing half of a soldier pictured in 11 as worshipped by a kneeling congregation. (Polysemous reading suggested by Nelson Hilton.) The “a” is made with the usual serif at top right, never given to an “o”, which is made in a circular sweep. The “a” is made with a curved stroke that begins at the top, comes up to make the serif and down again to connect with the next letter. Of course an “a” can look something like an “o”, but even the “a” in “massy” (misread in America c as “mossy”), which lacks the protruding serif, has the more vertical right side produced by the up-and-down motion described.</ref>
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| − | {{nr|45}} Carried in Arks of Oak before the armies in the spring
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| − | Bursting their Arks they rise again to life: they play before
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| − | The Armies: I hear their loud cymbals & their deadly cries
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| − | Are the Dead cruel? are those who are infolded in moral Law
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| − | Revengeful? O that Death & Annihilation were the same!
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| − | {{nr|50}} Then Vala answerd spreading her scarlet Veil over Albion
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| − | <h5>[[Jerusalem. The Emanation of the Giant Albion/Plate 22|PLATE 22]]</h5>
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| − | Albion thy fear has made me tremble; thy terrors have surrounded me
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| − | Thy Sons have naild me on the Gates piercing my hands & feet:
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| − | Till Skofields Nimrod the mighty Huntsman Jehovah came,
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| − | With Cush his Son & took me down. He in a golden Ark,
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| − | {{nr|5}} Bears me before his Armies tho my shadow hovers here
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| − | The flesh of multitudes fed & nouris[h]d me in my childhood
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| − | My morn & evening food were prepard in Battles of Men
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| − | Great is the cry of the Hounds of Nimrod along the Valley
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| − | Of Vision, they scent the odor of War in the Valley of Vision.
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| − | {{nr|10}} All Love is lost! terror succeeds & Hatred instead of Love t
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| − | And stern demands of Right & Duty instead of Liberty
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| − | Once thou wast to me the loveliest Son of heaven; but now
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| − | Where shall I hide from thy dread countenance & searching eyes
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| − | I have looked into the secret Soul of him I loved
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| − | {{nr|15}} And in the dark recesses found Sin & can never return.
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| − | Albion again utterd his voice beneath the silent Moon
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| − | I brought Love into light of day to pride in chaste beauty
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| − | I brought Love into light & fancied Innocence is no more
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| − | Then spoke Jerusalem O Albion! my Father Albion
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| − | {{nr|20}} Why wilt thou number every little fibre of my Soul
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| − | Spreading them out before the Sun like stalks of flax to dry?
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| − | The Infant Joy is beautiful, but its anatomy
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| − | Horrible ghast & deadly! nought shalt thou find in it
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| − | But dark despair & everlasting brooding melancholy!
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| − | {{nr|25}} Then Albion turnd his face toward Jerusalem & spoke
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| − | Hide thou Jerusalem in impalpable voidness, not to be
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| − | Touchd by the hand nor seen with the eye: O Jerusalem
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| − | Would thou wert not & that thy place might never be found
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| − | But come O Vala with knife & cup: drain my blood
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| − | {{nr|30}} To the last drop! then hide me in thy Scarlet Tabernacle
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| − | For I see Luvah whom I slew. I behold him in my Spectre
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| − | As I behold Jerusalem in thee O Vala dark and cold
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| − | Jerusalem then stretchd her hand toward the Moon & spoke
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| − | Why should Punishment Weave the Veil with Iron Wheels of War
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| − | {{nr|35}} When Forgiveness might it Weave with Wings of Cherubim
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| − | Loud groand Albion from mountain to mountain & replied
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| − | <h5>[[Jerusalem. The Emanation of the Giant Albion/Plate 23|PLATE 23]]</h5>
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| − | Jerusalem! Jerusalem! deluding shadow of Albion!
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| − | Daughter of my phantasy! unlawful pleasure! Albions curse!
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| − | I came here with intention to annihilate thee! But
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| − | My soul is melted away, inwoven within the Veil
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| − | {{nr|5}} Hast thou again knitted the Veil of Vala, which I for thee
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| − | Pitying rent in ancient times. I see it whole and more
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| − | Perfect, and shining with beauty! But thou! O wretched Father! t
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| − | Jerusalem reply'd, like a voice heard from a sepulcher:
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| − | Father! once piteous! Is Pity. a Sin? Embalm'd in Vala's bosom
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| − | {{nr|10}} In an Eternal Death for. Albions sake, our best beloved.
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| − | Thou art my Father & my Brother: Why hast thou hidden me,
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| − | Remote from the divine Vision: my Lord and Saviour.
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| − | Trembling stood Albion at her words in jealous dark despair:
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| − | He felt that Love and Pity are the same; a soft repose!
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| − | {{nr|15}} Inward complacency of Soul: a Self-annihilation!
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| − | I have erred! I am ashamed! and will never return more:
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| − | I have taught my children sacrifices of cruelty: what shall I answer?
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| − | I will hide it from Eternals! I will give myself for my Children!
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| − | Which way soever I turn, I behold Humanity and Pity!
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| − | {{nr|20}} He recoil'd: he rush'd outwards; he bore the Veil whole away
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| − | His fires redound from his Dragon Altars in Errors returning.
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| − | He drew the Veil of Moral Virtue, woven for Cruel Laws,
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| − | And cast it into the Atlantic Deep, to catch the Souls of the Dead.
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| − | He stood between the Palm tree & the Oak of weeping
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| − | {{nr|25}} Which stand upon the edge of Beulah; and there Albion sunk
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| − | Down in sick pallid languor! These were his last words, relapsing!
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| − | Hoarse from his rocks, from caverns of Derbyshire & Wales
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| − | And Scotland, utter'd from the Circumference into Eternity.
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| − | Blasphemous Sons of Feminine delusion! God in the dreary Void
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| − | {{nr|30}} Dwells from Eternity, wide separated from the Human Soul
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| − | But thou deluding Image by whom imbu'd the Veil I rent
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| − | Lo here is Valas Veil whole, for a Law, a Terror & a Curse!
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| − | And therefore God takes vengeance on me: from my clay-cold bosom
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| − | My children wander trembling victims of his Moral justice.
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| − | {{nr|35}} His snows fall on me and cover me, while in the Veil I fold
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| − | My dying limbs. Therefore O Manhood, if thou art aught
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| − | But a meer Phantasy, hear dying Albions Curse!
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| − | May God who dwells in this dark Ulro & voidness, vengeance take,
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| − | And draw thee down into this Abyss of sorrow and torture,
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| − | {{nr|40}} Like me thy Victim. O that Death & Annihilation were the same!
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| − | <h5>[[Jerusalem. The Emanation of the Giant Albion/Plate 24|PLATE 24]]</h5>
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| − | What have I said? What have I done? O all-powerful Human Words!
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| − | You recoil back upon me in the blood of the Lamb slain in his Children.
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| − | Two bleeding Contraries equally true, are his Witnesses against me
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| − | We reared mighty Stones: we danced naked around them:
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| − | {{nr|5}} Thinking to bring Love into light of day, to Jerusalems shame:
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| − | Displaying our Giant limbs to all the winds of heaven! Sudden
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| − | Shame siezd us, we could not look on one-another for abhorrence: the Blue
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| − | Of our immortal Veins & all their Hosts fled from our Limbs,
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| − | And wanderd distant in a dismal Night clouded & dark:
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| − | {{nr|10}} The Sun fled from the Britons forebead: the Moon from his mighty loins:
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| − | Scandinavia fled with all his mountains filld with groans,
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| − | O what is Life & what is Man. O what is Death? Wherefore
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| − | Are you my Children, natives in the Grave to where I go
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| − | Or are you born to feed the hungry ravenings of Destruction
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| − | {{nr|15}} To be the sport of Accident! to waste in Wrath & Love, a weary
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| − | Life, in brooding cares & anxious labours, that prove but chaff.
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| − | O Jerusalem Jerusalem I have forsaken thy Courts
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| − | Thy Pillars of ivory & gold: thy Curtains of silk & fine
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| − | Linen: thy Pavements of precious stones: thy Walls of pearl
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| − | {{nr|20}} And gold, thy Gates of Thanksgiving thy Windows of Praise:
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| − | Thy Clouds of Blessing; thy Cherubims of Tender-mercy
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| − | Stretching their Wings sublime over the Little-ones of Albion
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| − | O Human Imagination O Divine Body I have Crucified
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| − | I have turned my back upon thee into the Wastes of Moral Law:
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| − | {{nr|25}} There Babylon is builded in the Waste, founded in Human desolation.
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| − | O Babylon thy Watchman stands over thee in the night
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| − | Thy severe judge all the day long proves thee O Babylon
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| − | With provings of destruction, with giving thee thy hearts desire.
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| − | But Albion is cast forth to the Potter his Children to the Builders
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| − | {{nr|30}} To build Babylon because they have forsaken Jerusalem
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| − | The Walls of Babylon are Souls of Men: her Gates the Groans
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| − | Of Nations: her Towers are the Miseries of once happy Families.
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| − | Her Streets are paved with Destruction, her Houses built with Death
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| − | Her Palaces with Hell & the Grave; her Synagogues with Torments
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| − | {{nr|35}} Of ever-hardening Despair squard & polishd with cruel skill
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| − | Yet thou wast lovely as the summer cloud upon my hills
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| − | When Jerusalem was thy hearts desire in times of youth & love.
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| − | Thy Sons came to Jerusalem with gifts, she sent them away
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| − | With blessings on their hands & on their feet, blessings of gold,
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| − | {{nr|40}} And pearl & diamond: thy Daughters sang in her Courts:
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| − | They came up to Jerusalem; they walked before Albion
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| − | In the Exchanges of London every Nation walkd
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| − | And London walkd in every Nation mutual in love & harmony
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| − | Albion coverd the whole Earth, England encompassd the Nations,
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| − | {{nr|45}} Mutual each within others bosom in Visions of Regeneration;
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| − | Jerusalem coverd the Atlantic Mountains & the Erythrean,
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| − | From bright Japan & China to Hesperia France & England.
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| − | Mount Zion lifted his head in every Nation under heaven:
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| − | And the Mount of Olives was beheld over the whole Earth:
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| − | {{nr|50}} The footsteps of the Lamb of God were there: but now no more
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| − | No more shall I behold him, he is closd in Luvahs Sepulcher.
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| − | Yet why these smitings of Luvah, the gentlest mildest Zoa?
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| − | If God was Merciful this could not be: O Lamb of God
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| − | Thou art a delusion and Jerusalem is my Sin! O my Children
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| − | {{nr|55}} I have educated you in the crucifying cruelties of Demonstration
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| − | Till you have assum'd the Providence of God & slain your Father
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| − | Dost thou appear before me who liest dead in Luvahs Sepulcher
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| − | Dost thou forgive me! thou who wast Dead & art Alive?<ref>24:58 Dead . . . Alive] mended from dead . . . alive</ref>
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| − | Look not so Merciful upon me O thou Slain Lamb of God
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| − | {{nr|60}} I die! I die in thy arms tho Hope is banishd from me.<ref>24:60 Followed by a line deleted almost without trace; compare 47:1.</ref>
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| − | Thundring the Veil rushes from his hand Vegetating Knot by
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| − | Knot, Day by Day, Night by Night; loud roll the indignant Atlantic
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| − | Waves & the Erythrean, turning up the bottoms of the Deeps
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| − | <h5>[[Jerusalem. The Emanation of the Giant Albion/Plate 25|PLATE 25]]</h5>
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| − | And there was heard a great lamenting in Beulah: all the Regions
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| − | Of Beulah were moved as the tender bowels are moved: & they said:
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| − | Why did you take Vengeance O ye Sons of the mighty Albion?
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| − | Planting these Oaken Groves: Erecting these Dragon Temples
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| − | {{nr|5}} Injury the Lord heals but Vengeance cannot be healed:
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| − | As the Sons of Albion have done to Luvah: so they have in him
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| − | Done to the Divine Lord & Saviour, who suffers with those that suffer:
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| − | For not one sparrow can suffer, & the whole Universe not suffer also,
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| − | In all its Regions, & its Father & Saviour not pity and weep.
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| − | {{nr|10}} But Vengeance is the destroyer of Grace & Repentance in the bosom
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| − | Of the Injurer: in which the Divine Lamb is cruelly slain:
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| − | Descend O Lamb of God & take away the imputation of Sin
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| − | By the Creation of States & the deliverance of Individuals Evermore Amen
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| − | Thus wept they in Beulah over the Four Regions of Albion
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| − | {{nr|15}} But many doubted & despaird & imputed Sin & Righteousness
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| − | To Individuals & not to States, and these Slept in Ulro.
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| − | <h5>[[Jerusalem. The Emanation of the Giant Albion/Plate 26|PLATE 26]]</h5>
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| − | SUCH VISIONS HAVE APPEARD TO ME
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| − | AS I MY ORDERD RACE HAVE RUN
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| − | JERUSALEM IS NAMED LIBERTY
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| − | AMONG THE SONS OF ALBION<ref>Plate 26, engraved in white line, portrays “HAND” in flames and with nails in his extended palms, turned toward “JERUSALEM”, who lifts her hands in amazement. The rhymed lines are incised in outline alongside the figures.</ref>
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| − | </poem>{{poem-off|}}
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| − | ==Notes==
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| − | Blake's scribal errors, here corrected without annotation, are: 5:3 “incohererent” for “incoherent”; 16:51 “the the” for “the”; 38:37 “Of of”; for “Of”; 40:37 “conjoinining” for “conjoining”; 64:31 “frownining” for “frowning”; 65:62 “him from him his” for “him from his”; 94:23 “Chastitity” for “Chastity”.
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| − | In the present text all restored deletions are printed in italics, within brackets.
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| − | Title (Plate 2)] In XXVIII Chapters del while etching (beneath the “on” of “Albion”)
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| − | 1804 . . . Molton St.] incised (Hence possibly, added at any, time)
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| − | Plate 1. Entire text deleted, both by incised lines emphasizing the texture and mortar-lines of the stonework and by solid inking of the plate. Text incised and so not very legible even in posthumous copies. But before the lines were cut across the text, Blake pulled a proof on which he outlined the lettering by pen and ink (see facsimile bound as frontispiece to the Blake Trust edition of the Rinder copy).
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| − | 1:7 Albion behold Pitying] del by scratching the copper (a somewhat conjectural reading)
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| − | 3: SHEEP GOATS] incised (hence possibly a late addition)
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| − | 3: 2nd paragraph, 3rd line: Ancients acknowledge . . . Deities] Ancients entrusted . . . Writing rdg mistakenly supplied in earlier edition (I had simply not taken the proper care in deciphering the dots remaining after deletion). (Error noted by M. J. Tolley.)
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| − | 5:59 The parentheses were added in copy B but not later copies.
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| − | 7:65 Image del (but retouched into legibility in copies BD)
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| − | 8:40-41 Full stops seem required at each line end. It is the Spectre who must “labour obedient” for Los because Hand and Co “labour mightily” in negation.
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| − | Plate 10 is an added plate, made to fit between 9 and 11.
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| − | 10:47 Righteous] mended from righteous
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| − | 11:3 anvils;] I insert semicolon in place of comma, for the “Los. compelled” clause must end here.
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| − | 14:34] Followed by colophon: End of the 1st Chap: del
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| − | 17:21 labour] revised in copy B to labours (inattentively?)
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| − | 18:36 cry Hand] revised crudely copy B to criest ?Thou
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| − | <ref>22:10 Hatred] mended from Ratred</ref>
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| − | <ref>23:7 But thou! O wretched Father!] Jerusalem now speaks.</ref>
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| − | <ref>24:58 Dead . . . Alive] mended from dead . . . alive</ref>
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| − | <ref>24:60 Followed by a line deleted almost without trace; compare 47:1.</ref>
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| − | <ref>Plate 26, engraved in white line, portrays “HAND” in flames and with nails in his extended palms, turned toward “JERUSALEM”, who lifts her hands in amazement. The rhymed lines are incised in outline alongside the figures.</ref>
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| − | 27:15 Willans] mended (perhaps from “Williams”)
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| − | Plate 28 exists in an early state (in a proof page in the Morgan Library); extensive changes were made in the picture, but not the text, before final printing. Female and male figures embracing in the center of a large flower were re-engraved from a position in which they could be assumed to be copulating to one in which they could not. Perhaps illustrating Jerusalem-Vala's attempt “to melt his [Albion's] Giant beauty, on the moony river” (19:47). (In 1977 the Morgan acquired another working proof, intermediate between the early and the final states.)
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| − | Plates 29-46 are found in two arrangements. The sequence followed here is that of copies A C F; numbers within brackets indicate the sequence of copies D E.
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| − | 29:47 involve] Possibly a mistake for “involves”; yet the construction “behold the cloud involve me” would not be unBlakean.
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| − | 31:18 States . . . Systems] These two words, in an unevenly deleted line, are somewhat conjectural.
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| − | 32:34 Conjectural restoration of deeply gouged deletion.
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| − | 33:1 Line added (by engraving) after the etching of the plate.
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| − | 33:10 blue] mended from pale (in all copies, but restored to “pale” in A; a proof exists of the unmended plate)
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| − | 35:6 Line crowded into a paragraph break, before etching, but indented to go with second paragraph.
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| − | 35:10 Line crowded into paragraph break, before etching.
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| − | 37:32-35 (reverse writing, on scroll):
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| − | Each Man is in his Spectre's power Untill the arrival of that hour, When his Humanity awake And cast his Spectre into the Lake
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| − | These lines are close to the final draft in the Notebook (p 8- misbound as 12) except for an unfinished 2nd stanza. A rearrangement of the 1st stanza lines was tried by numbering them 4, 3, 1, 2, but the numbers were canceled. Here is the Notebook text:
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| − | [4] [This world] <Each Man> is in [the] <his> Spectres power [3] Untill the arrival of that hour [1] [Untill] <When> [the] <his> Humanity awake [2] And cast [the] <his own> Spectre into the Lake And there to Eternity aspire The selfhood in a flame of fire Till then the Lamb of God
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| − | 40:40 Line lacking in proof (Morgan Library); added to plate by engraving.
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| − | 42:47 friend] sic, probably a parody of “aborred fiend”, though possibly a scribal error
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| − | 43:28 rocks] etched locks, but see line 2; emendation suggested by Joanne Witke
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| − | 43:83 trembling] mended from Albion slept (though “slept” is conjectural)
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| − | 47:1 Blake probably did not delete this line because of its redundancy with the plate's concluding line (for a similar refrain enclosing a plate, see 9) but to accommodate some rearrangement of plates subsequently abandoned.
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| − | 49:35 Void] ground rdg on plate, error in copying 5:22
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| − | Plate 51, a full-page illustration, was inscribed “Vala Hyle Skofield” when issued as a separate print. Monogram WB in lower left corner (for use with separate print) is visible in copy A and posthumous copies.
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| − | Plate 52. The 7 stanzas beginning “I saw a Monk . . .” are an almost exact transcription of stanzas numbered 1 to 7 in a much longer draft in Blake's Notebook (p 8—misbound as 12). In order of composition these seven were originally stanzas 1, 2, 3, 4, 15, 16, and 14. (For another poem, of nine stanzas, drawn from the same Notebook draft, see “The Grey Monk” in the Pickering Manuscript, below.)
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| − | 1 Charlemaine] Constantine 1st ms rdg del
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| − | 3 as we] where he ms rdg
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| − | 5-8 A variant stanza was written beside this in the ms:
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| − | Gibbon plied his lash of steel Voltaire turnd his wracking wheel Charlemaine & his barons bold Stood by & mockd in iron & gold
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| − | Another variant ms stanza was written in the margin:
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| − | The Wheel of Voltaire whirld on high Gibbon aloud his lash does ply Charlemaine & his Clouds of War Muster around the Polar Star
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| − | (The final line 7 was composed after these variant stanzas were rejected.)
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| − | 7 The Schools . . . rolld] Charlemaine & his barons bold 1st ms rdg del
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| − | 9 Thou . . . afar] Seditious Monk said Charlemaine 1st ms rdg del
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| − | 10 In vain . . . War] The Glory of War thou condemnst in vain 1st ms rdg del
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| − | 11 your . . . you] thy . . . thou ms rdg
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| − | 17-20 When Satan . . . mercys Lord] ms stanza “5” (variant: Mercys), replacing:
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| − | Untill the Tyrant himself relent The Tyrant who first the black bow bent Slaughter shall heap the bloody plain Resistance & war is the Tyrants gain
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| − | 21 Titus! Constantine!] O Charlemaine O 1 st ms rdg del
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| − | 23 Grecian Mocks] mocks & scorn 1st ms rdg del
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| − | 25 For a Tear] For the tear 1st ms rdg del; A tear 2nd ms rdg
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| − | 25-28 Variant ms stanza, abandoned but not deleted:
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| − | But The Tear of Love & forgiveness sweet And submission to death beneath his feet The Tear shall melt the sword of steel And every wound it has made shall heal
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| − | (The “feet” in the second line are the Tyrant's.)
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| − | The following stanza, numbered “8”, was begun, alongside stanza 7:
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| − | a Grecian Scoff is a wracking wheel [The] Roman pride is a sword of steel [Vict] Glory & Victory a [?Ron] [ <plaited> ] [?Trojan] phallic Whip
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| − | (“Ron” a start on “Roman”? These lines first a variant of stanza 2?)
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| − | 27 of a Martyrs] for anothers 1st ms rdg del; of the Martyrs 2 nd ms rdg
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| − | 53:8, Line added within a paragraph break, before etching
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| − | 53:24 Line added within a paragraph break, before etching
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| − | 55:20 Conclave] etched Concave, clearly wrong for the context
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| − | 56:37 earth-Worm] mended by pen to earth-Worms in copy F, perhaps not by Blake
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| − | Plate 57. In the illustration are the names “York London Jerusalem”.
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| − | 58:3 Street] possibly a mistake for Streets
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| − | 60:55 Not: but] Keynes emends to Nought but (yet compare 93:20 and 96:16; perhaps the intended opposition is “Art thou alive! or art thou Not:”)
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| − | 63:5-6 Albion's bringing Luvah “To justice in his own City of Paris” (here and in pl 66) points to a date of composition after one or more probably both the Treaties of Paris of 1814 and 1815. See Erdman 430[466].
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| − | 65:62 him from his] etched him from him his
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| − | 69:1 combined] mended in copper to conjoined (restored in the Mellon copy by pen)
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| − | 72:53 Mirror writing: Women the comforters of Men become the Tormenters & Punishers
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| − | 73:37,Deletion covered by vines in most copies; legible in posthumous copies, under magnification.
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| − | 73:43 Deletion covered by vines in most copies; legible in posthumous copies, under magnification
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| − | Plate 76 is a full-page illustration, with the names “Albion” and “Jesus” incised beneath its two figures. “Albion” is deleted in copies D E; “Jesus” in copies C D E F.
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| − | 77:1-4 I give you . . . wall] Four lines from Blake's Notebook (p 46 reversed)
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| − | 77:1 give] have given 1st ms rdg del
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| − | 77 The Real [Selfhood] . . . Man] incised in the bottom corners of the plate, partly legible in copy F and in posthumous copies. (The fourth segment is G. E. Bentley's deciphering.) Blake first deleted “hood” and later the whole passage.
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| − | Plate 81. The mirror writing in the inscription reads:
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| − | In Heaven the only Art of Living Is Forgetting & Forgiving Especially to the Female But if you on Earth Forgive You shall not find where to Live
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| − | 81:15-16 Since these two lines appear below the illustration, they may be considered as its caption; but they also serve as part of the text. (Keynes prints them as such but in a note says they are not part of teh text.)
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| − | Plate 82 shows many signs of haste. The deletion in lines 47-48 should perhaps be respected as a successful revision, but that in lines 67-68 leaves an awkward gap.
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| − | 82:43 his hands . . . & his feet] written his hands . . . & his hands
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| − | 83:1 Corruptibility] etched Corrupability mended in copy E
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| − | 83:30 Affection] mended from affection
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| − | 83:87 Awake] Whether given an exclamation point or not, this word seems to hang in midair. Plate 84 (different in technique, lettering, content) obviously did not originally follow. Part of the Daughters' song of building appears to be lost.
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| − | 85:11 Myriads] mended from myriads
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| − | 88:30 sending] etched sendinding
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| − | 89:2 endure] The plural subject of this verb must be the “double” nay “Twelvefold” Hermaphroditic form.
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| − | 89:26 flocks] Rocks in previous transcription, corrected by Bentley
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| − | 90:58 And] mended from and
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| − | 90:67 thunder's] I have inserted the apostrophe called for by the syntax and context; it is the thunder of Los that utters Plate 91.
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| − | 91:1 Preceded by a deleted line which I can partly decipher as “Forgiveness of Enemies ?can [ ] only [ ] God [ ]”
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| − | Plate 92 includes an illustration inscribed “Jerusalem”. A deleted line follows 93:1.
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| − | 94:27 Line probably added during a rewriting of the page. (Examination of Plate 95 reveals that the text of Plate 94 was first etched in the top half of 95 and was probably identical to the re-etched version except for this line.)
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| − | Plate 96 is etched on what was once the lower left quarter of a large plate on which Blake had etched a commercial manifesto for “MOORE & Co's Manufactory & Warehouse, of Carpeting and Hosiery Chiswell Street. MOOR-FIELDS” in 1797 or I798.
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| − | 98:11 Sexual Threefold] mended from Sexual Twofold (The plate bears other signs of hasty writing.)
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| − | 98:34 regenerations] mended from regenations
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| − | 98:45 the Covenant of] mended from thy Covenant (thy Covenant restored in the Morgan copy by pen)
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| − | 98:48 Sacrifices] The terminal “s” almost hidden by the decorative border—but not a true deletion.
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| − | Plate 99 bears traces of an earlier use of the copper for some architectural and vaguely scenic design, not identified.
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