著者

川崎 則子

出版者

岐阜市立女子短期大学

雑誌

岐阜市立女子短期大学研究紀要 (ISSN:09163174)

巻号頁・発行日

vol.55, pp.1-8, 2005

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William Blake's Milton depicts the restoration of the lost unity of the ideal selfhood, or Human Form in Blake's terminology. The protagonist Milton tries to regain and redeem the lost wholeness of human integrity by his incarnation after realizing his failure in his former life upon hearing the bard's song which tells of Satan's failure at self-righteousness. Along his journey back to the phenomenal world, he encounters Urizen, who is the eternal phase of Satan. This paper discusses Milton, Plate19[21], lines 1-14, where Milton's strife with Urizen entails forming rather than destroying Urizen, who tries to assume false universality. The characteristics of this strife are endowed with concrete vividness by the images of foot, clay, marble, and biblical Jacob. These are contrasted by an equivalent pictorial design in Plate 16[18] which amplifies the metaphysical connotations of the boundary between the eternal and phenomenal worlds with the designs of sun, Mosaic Decalogue, and the colors: red, blue, and yellow.