William Blake is a fascinating character in the world of literature. A deeply spiritual man, whose writings seek to promote what he saw as the ideals of Christian virtue, but equally antagonistic towards all churches and established expressions of religion. It is this sort of irony that is raised repeatedly in Blake’s The Marriage of Heaven and Hell (1793), which explores ideas of traditional theology and ethical logic, to uncover what the poet thought to be the true spark of man’s divine spirit.
Anyone looking to seriously discuss the doctrine of Contraries set forth in The Marriage of Heaven and Hell by William Blake, must first grasp the rhetorical, and perhaps more importantly, the theological implications that come along with realizing that notions such as good and evil are not and cannot be described as antitheses of one another. Plate 3 of The Marriage of Heaven and Hell, firmly calls on the reader to reflect on how s/he could honestly be able to fully comprehend positive components (such as attraction, reason, and love), unless there exist negative contraries (in this case, repulsion, energy, and hate) that must be known and understood to truly see the goodness of its opposites. If these negatives (i.e. Evil) are absent, then there is no rational way to detect the positives (i.e. Good), thus gaining an understanding of evil is detrimental in recognizing good. Plate 3 goes on to imply that Evil is the driving force of knowledge; it is the active factor that through its guiding principle, energy, focuses the senses of the passive recipient, Good, and allows its guiding principle, reason, to judge a given situation. Blake finishes by affirming, “Good is Heaven. Evil is Hell”, a clear attempt to distinguish between the two concepts. But, while it is certainly true that the existence of Heaven is not contingent on there also being a Hell, any description associating Heaven with Good will lose all meaning in the absence of Hell. If Heaven is the sole transcended plane, then to label it Good (or anything else for that matter) is an arbitrary description, akin to saying that Color is Heaven. In such a case, what would anything outside Heaven be, non-Color, but what would that describe?—Nothing, which is precisely why it is vital for us to be able to articulately conceive of the Evil of Hell, so that we may understand the Good of Heaven.
It must be kept in mind that in Blake’s spiritualist view, these traditionally divine and damned settings are considered to be more psychologically real, than physical representations of actual places (as the churches teach). Thus, Heaven and Hell, Good and Evil, are dependent on one another to ensure the promulgation of both entities in human consciousness. A fact that is acknowledged and plainly stated by Blake, and (in his view) secretly acknowledged but never stated by the churches. In plate 4, the voice of the Devil is presented in the form of a rational argument (even though reason is a component of Good), articulating Blake’s stance that although transcendent experience is real, any attribute we give to it is limited by the imagination of our minds, thereby making this real entity imaginary when we aim to analyze and categorize it rationally. Resulting in irony, because whereas reason is supposed to be a principle of Good, it becomes entrenched by our energetic drive to grasp it (energy being the principle of Evil), which ultimately takes us further away from the divine truth but also gives us our only possible insight to divinity. Meaning that, unlike what the church or organized religion teaches us, our physical and mental cravings are neither sin nor salvation, but manifestations of one transcendent property incapable of being dissevered. Our projection outward towards the heavens is in truth just a reflection inward—where Heaven truly resides—towards our soul.