Clarendon, ] , , produced two four-print sets on the Good Samaritan theme: The series presents almost the same episodes, but all are treated allegorically: Peter, who holds the keys to the Church, and the payment is in the form of the Gospels and Epistles, reproduced in The Illustrated Bartsch , and more usefully in Ilja M. Koninklijke van Poll, Heemskerck also made a fascinating major painting, Landscape with the Good Samaritan , which was not engraved. Rodwell, does not usually specify where prints are located but offers clear descriptions of them.
Master Works, ] , 78 , a companion to his The Pool of Bethesda , both of which were painted for the grand staircase of St. For the Bassano brothers see also Erica Pan, ed. The posthumous print, no. The tree beside the head of the victim is bifurcated; the trunk closer to the head of the victim was cut off; the other rises and flourishes. Two seventeenth-century pictures that variously treat problems of recognition in the Good Samaritan story are a painting by Luca Giordano, in which the Samaritan looks villainous but acts charitably to the unconscious victim, and a print by Rembrandt, dated illus.
The extreme rarity of the Jesus-Samaritan identification in Protestant art, particularly among pictures that were made in the eighteenth century or that were then prominent in England—most notably, those of Hogarth illus. Heppner is right to emphasize the importance of the dramatic framework of the story in Luke Henry did not attempt to explain the insensitivity of these clerics, though other commentators had done so, and Blake may well have been aware both of the relevant biblical text and of Renaissance prints that show the parts of the passers-by taken by Moses and Aaron. In Numbers 19 the Lord told these two of the curious process of purification that is to be followed in cleansing from sin.
At a safe distance they could hardly tell his exact condition, and what would be the consequences for their clerical obligations even if he were still alive when sighted but then died while in their care? Prudence would dictate that they have somewhere to get to and accede to their duties. Once the questioner has submitted the answer required by the parable, Jesus abruptly switches the perspective from the victim to the rescuer, and instructs the devotee of Jewish law to adopt the despised Samaritan as a model, and extend neighborly love even to strangers and enemies: One additional episode involving Samaritans—not cited by Heppner—bears on the case: University of Iowa Libraries.
Ethnically, of course, Jesus of Nazareth was not a Samaritan, but because of his unorthodox behavior he was inferentially identified as one by some of his suspicious compatriots: Given that this Good Samaritan is enacted by Jesus Christ, what should an eighteenth-century Christian audience make of the serpent-marked chalice in which he proffers oil or wine, and why would the victim resist being helped?
It is noteworthy that none of the later nineteenth-century artists who address the Good Samaritan theme: Delacroix, Van Gogh, Watts, et al. Even if it were supposed that the victim is knowledgeable enough to identify the snake as an emblem of the Greek cult of Aesculapius, as maintained by Heppner, the grounds for refusal would remain the same. Whether the proffered cure be understood as Samaritan, or Aesculapian, or Gentile-exotic something from Ancient Britain, say , or proto-Christian, the alien potion or ointment would be perceived as an abhorrence by an observant Jew.
It makes no difference to my argument whether the snake were depicted as a mere decorative motif or as a live reptile in the act of striking: Christian tradition, following Jewish tradition, encodes nearly all manifestations of the serpentine form in Christian art as evil. Disentangling this notion in relation to the watercolor entitled Moses Erecting the Brazen Serpent , based on Num. Since apostolic times e. This is shown in the penultimate or final designs in the three Paradise Lost series Butlin, cat.
These scenes forecast Jerusalem 76, to be discussed later, in which, however, the serpent does not figure. For what calls thy Disease Lorenzo?! Heppner , attempts to enlist these lines for his Aesculapian theory about NT 21E: Aesculapius could be of no help here. The more specific configuration of serpent-and-cup, as noted by Essick and LaBelle, refers in Christian iconography to a central episode in the legend of St. John the Evangelist or the Divine. As a test of faith by the Emperor Domitian, the saint was made to drink from a poisoned cup that had killed two other men or, in another version of the story, the compelling authority is the high priest of Diana of Ephesus.
John, the only apostle to meet the ordeals of martyrdom without losing his life, proves immune to the drink, and the poison, in the form of a serpent, slithers harmlessly away. Arno, , re 27 December , the story of the test of St. John by poison is told without employment of the serpent, but there are countless representations of St. This legend of St. And as the Samaritan is only just about to open the vessel—its contents are not yet being poured out, as in most representations of this episode by other artists—the conscious victim is able to exercise a right of first refusal to the ministrations of his rescuer.
Too exclusive attention to the drama of the encounter between the men represented in NT How should Charity and Faith be related to good deeds? Blake wrote this memorandum in his Notebook: Later he inserted this aphorism, a virtual title, on either side of his sketch for the very Good Samaritan problem that was finally excluded from The Gates of Paradise: Two answers Blake would have thought to be profoundly anti-Christian are raised in Counter-Reformation art that Blake would have been aware of through prints containing similar themes if not through the particular paintings I shall mention.
In two recent exhibition catalogues, several pictures are featured that show Christ either as exterminator or as a cosmic reservoir 4 Night Thoughts , VIII, p. Art Services International, esp. Ludwig Burchard Arcade, no. The subordinate Thunder God tries to explain the same idea i. As we shall see, it is toward this vision of an abominable God to which Truth points in NT 43E illus.
In this replacement for NT , NT 31E, Young, who had at first appeared as the pilgrim with the book, becomes the angel who is kneeling to the linen clothes that enwrap his arm. His Emanation, the woman who looks up to the New Jerusalem, has lowered her companionate gaze to the empty grave, which the ascending Jesus Christ is leaving behind.
Since these spirits were hardly witnesses, neither is yet ready to be a follower. This image of Christ had been recklessly escalated from a less indiscriminate role bad enough, Blake would have objected assigned him by Scarcellino in which Christ is poised to launch his missiles down to wipe out only three women, those deplorable Vices: Lust, Avarice, and Pride. The saint-filled titles assigned to such pictures deflect attention from the Messiah as ominous would-be destroyer to those exceptional personages who attempt to restrain him.
Thus they abet in the mental processes that make holy war seem acceptable, indeed Christian. As though to avoid the implication that, at the Last Judgment, his Judge might employ such abominable weaponry, Blake made his Judge even-handed. In the final version Butlin, cat. At the End the issue is Bounty, not Vengeance. The other Counter-Reformation motif, the Fountain of Blood, is hardly less appalling.
There were also pictures that focus on Jesus: Christ in a Chalice no. All this occurs while Christ is backed by the cross and kneels upon the world that swims in a pool of blood and is watched adoringly by an 5 Night Thoughts , detail. Closer in symbolism to our point of departure in NT These animals are derived from the aforementioned Matthew Since the blood that spills out of this cup also functions to convey the writing upon the scroll that is wrapped about the base of this chalice, believers are supposed to understand that Christian doctrine derives from the overflow of blood.
I, 79 of Blake would have agreed that such observances have no place in the Everlasting Gospel: If cannibalism were Christianity. When the victim is dazed or unconscious, he can play at best a passive role. But Blake in effect places the viewer in the psychological situation of an alert and wary victim, whose first impression of a serpent-marked chalice is that it would denote evil and corruption, not healing—even if the bearer of the cup were Jesus and Aesculapius rolled into one.
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What is the evidence, considering serpents and cups in the Night Thoughts designs themselves, for maintaining that the serpent-decorated cup in NT And with the exception of one neutral manifestation of the serpent as ouroboros in NT , all subsequent serpentine forms in both Volume I NT 78, 79, and Volume II NT , , , , , , , , , , , , , and are represented as unmistakably evil.
As for cups associated with warnings, the overturned cup of Belshazzar in Night Thoughts 19E: But the snake-inhabited cup of Silenus in Night Thoughts By Night the Eighth Lorenzo! But the earthly source of the treacherous blood of the grape is featured in NT Silenus, the vintner, in the interests of full disclosure, is trying to tell the viewer that anybody who names his poison can manage it.
In Hogarth Volume II: High Art and Law: Rutgers UP, esp. In Night Thoughts and , Blake displays an all-too-human group of four singing drunkards who are stretched out, classical style, around a table that features a punch bowl on the edge of which five spirits are dancing. Four other little people are disporting upon the table.
In the clouds above are many more dissolute spirits. As is clear in the large color reproduction, issued by Keynes in , at least 10 other spirits at the right cavort around a jolly black devil while at the left five others are getting sloshed. Most imposing to the viewer but invisible to the drunkards is a red-eyed, green-winged menace who peers out above the text panel. The sequel-design, NT , appears more clear in the 63rd color plate of the Clarendon edition. The woman reveler of the previous design has disappeared leaving only her three male drinking companions, who are stretched-out unconscious at table.
Each of them is adorned with two small, mostly inert, spirits. Three of those who formerly danced about the now-broken bowl can also be seen. In the clouds at left at least seven spirits are in process of passing out while above them a man with a knife pursues a fugitive male. Curiously, the ominous green bat-devil who had been peering out from above the text panel has been replaced by a slighter grey, Disney-like creature with eyes shut, ass-ears, a smile, and pale blue bird-wings.
Presumably this is the benign spirit of indulgence, though the knife-man under his charge appears to be more harmful than any spirit in NT The audience of the Night Thoughts series understands of course that the ultimate motives of the Good Samaritan in NT John are semiotically identical: Both mark a lethal liquor, whether it is sought in debauchery as shown earlier in NT Easson and Robert N.
Book Illustrator , Vol. American Blake Foundation, no. The combination of such elements would result in a pretty piece of paganism which, if proffered him, would intimidate the Man Fallen in his weakened condition. Blake extensively revised this design dated by Butlin c. The attendant carries a large ellipsoid chalice which in shape closely resembles that proffered by the Samaritan in Night Thoughts One important detail is not always clear in reproductions: This cup is immediately seized by the Brothers when, in the next design Butlin, cat. Much the same serpentine symbolism is present in the first version of the Magic Banquet Butlin, cat.
In neither version is the beleaguered Lady able to see the serpents in the service of Comus, but she must understand well enough that there is something more sinister in his stratagems than is revealed in the inviting cup he displays during his carnivalesque [e] spiel. The vessel containing the wine of the grapes of wrath is elaborately embellished with handles made of two serpents that meet by crossing their tongues above the top of the vessel and thence undulate downward and coil around its stem, where their tails intertwine.
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See Draper Hill, ed. The seven-headed Behemoth that carries the Whore and leads the carnage was adapted by Blake from his own earlier visions of Nebuchadnezzar [e] e.
Phaidon, , pl. Both this picture and the Comus design present encounters in which the deployers of serpent vessels are certainly up to no good and should be resisted by their intended victims. In his half-dead condition, this is the most forceful gesture of rejection he can manage as, alarmed, he rouses himself to support his weight on his right fore-arm.
Unless the viewer sees the rest of the body language of any figure, as well as other signs, such as words, the viewer is liable to misinterpret what the hands, considered by themselves, are saying. Yet at some junctures hand gestures may be the crucial signs.
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McGill-Queens UP, , esp. The wrist mechanics here are quite different from what can be seen of the stiff-fingered upraised repelling hand in NT The gesture is shown straight on, not in profile as in NT For example, in the design immediately following in the engraved series, NT 22E: For an escalation of rejection see NT 73, where the Good Old Man tries to fend off intimidating Death, and Job 6, where the agonized victim attempts, in the first version Butlin, cat. In all versions of Job 11, where the recumbent hero is oppressed by a dream-Vision of Satan impersonating the God of damnation, Job is able to raise his hands to repel this hovering incubus who is the negation of God in Elohim Creating Adam Butlin, cat.
Unwise rejectionism more emphatic than that in NT In looking out across the sea at some unrepresented cause for apprehension appearing to him but not to the viewer , Crusoe is the precursor of many other Blake figures terrified by some unseen horror offstage: Bromion, for example, in the frontispiece to Visions of the Daughters of Albion.
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Too long ago she rejected the possibility of joy. There may still be hope for the Man Fallen. Later, in Night the Eighth, NT , a horrified male traveler with his hair standing on end, who encounters a huge rearing serpent poised to strike, raises both of his hands, wrists up, fingers splayed, to fend off the attack. Allowing for the difference in the physical situation of the Man Fallen Among Thieves, the hand gestures of all these male figures are similar, expressing their attempts to repel things unacceptable or menacing.
Thus, at the instant Blake illustrates, in NT In choosing to set the parable in this moment, and to embellish the story with other details not mentioned in the parable itself, Blake becomes the first artist in 18 centuries to depict this episode in the parable of the Good Samaritan from the point of view of the Man Fallen Among Thieves, on first encountering his presumably hostile neighbor. Now on top of all that, here comes this traditional enemy of my people, a Samaritan, offering who-knows-what in a snake-decorated vessel.
It is no wonder that Blake depicts the victim especially in the watercolor version with his eye-brows shooting up, his mouth open, terrified, straining to lift his head and upper body from the boulder behind him, mustering the last ounce of his ebbing strength to raise his hand just off the ground, palm-out at the wrist, to fend off his would-be rescuer and signal his aversion to whatever snake-oil this suspicious-looking Samaritan medico wants to thrust upon him.
The alarmed reaction Blake depicts here is even more striking in comparison to the lack of expression in the often-unconscious or barely conscious inert victims depicted by other artists. Indeed, one of the few artists other than Blake to depict the victim later in this episode with an animated expression is Hogarth, who, in the mural in St. The viewer who lacks the print or cannot move up and down the stairs and lean back on the rail may not take in the figure of the Levite who, with his nose in a text—doubtless biblical—is wandering to the left in the boscage.
This can be confirmed in Ronald Paulson, Hogarth , 2: Hospital doctors should do well but cannot guarantee to perform miracles. A parasitic growth of ivy on the lower trunk does not reach high enough to cover the broken-off main trunk, which twists to the left, pointing in the direction of the arrogant Priest and his groveling devotee, who are enacting their forms of worship near the top of the road.
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In such details one can observe motifs that Blake was able to redeploy in his quite different realization of the parable. One would not wish to argue, however, that Blake meant something by not including a dog in his Good Samaritan pictures. A true neighbor does not simply return love for love, or buy love by lending or giving love, but freely gives love to those most culturally remote when they are in need, even if they have shown nothing but scorn in the past, and are not likely to change in the future, and may have no occasion to return that love.
And yet he will remain recalcitrant still. The subject of friendship, about which Young the narrator has been haranguing the recalcitrant Lorenzo in the latter part of Night the Second, is at first sharply distinguished from anything to do with money—but only in the unconvincingly banal imagery that is typical of much of the poem: Ye Powers of Wealth! Can Gold gain Friendship?
In the next paragraph overleaf, p. He has been urging Lorenzo to repress his pride and take a chance on friendship. Now, in the next breath, he advises caution: It is the latter issue that Blake is getting at here. The ethnic and religious antipathies that underlie the standoff depicted in Night Thoughts 68 are reinforced by the symbolism of the two huge overlapping trees behind the central figures: Beneath the text panel the trunk of the tree at right emerges from the ground behind but touching the trunk of the tree at left.
Especially in the engraving, NT 21E illus. In nature the two could not possibly have grown together in such proximity to the massive heights indicated. More extraordinarily, the tree at right becomes bifurcated, as it emerges above the text panel in front of the tree at left; the huge trunks must have crossed behind the text panel. John Bowden New York: One example, reproduced in Schreckenberg, p.
There are many other variations on the symbolism of the two trees, one dead, one living, or of a single tree, dead on the Old Testament side, living on the New. Both Carpaccio and Holbein the younger employed it in major pictures. Volume 4, Die Kirche , contains useful information concerning the symbolism of church and synagogue.
For a learned and balanced account of the appalling polarizations of Judaism and Christianity, see Frank E. Manuel, The Broken Staff: Harvard UP, , which must have appeared too late for inclusion by Schreckenberg. The Man Fallen Among Thieves is thus suspended between faiths.
In his ritually unclean state, wounded and left half dead, he has just been rejected by the departing clergy of his native religion, Judaism. But he has not yet accepted a new Savior who appears to him in the detested image of a Samaritan, proffering a cure marked with the horrifying sign of a serpent, the bestial guise in which Satan first walked the earth. To reinforce the point that the cup should be taken as a test of susceptibility to the Christian faith, the serpentine design alludes both to the legendary trial of St. As he insisted a year after completing his Night Thoughts designs, in commenting on the controversy about biblical authority between Thomas Paine and Bishop Watson: Jesus could not do miracles where unbelief hinderd.
The manner of a miracle being performed is in modern times considered as an arbitrary command of the agent upon the patient but this is an impossibility not a miracle[;] neither did Jesus ever do such a miracle. How can Watson ever believe the above sense of a miracle who considers it an arbitrary act of the agent upon an unbelieving patient[,] whereas the Gospel says that Christ could not do a miracle because of Unbelief[?
Later impressions dated Courtesy of the Boston Museum of Fine Arts. Although in the Good Samaritan story set forth in NT Peter will acquiesce forthwith. Indeed, this was the basis of a ceremony in the English church until and still carried on, it is said, by the Pope and the English monarch. The engraved version, however, is part of a curtailed sequence that breaks off at the end of the fourth Night, when the publisher apparently ran out of money.
The triumphant figure of the resurrecting Christ, having been moved from its position in NT 1 as the frontispiece to Volume I of the watercolor series to 31E, is adapted to serve as a titlepage for what promises to be a most positive conclusive section. The text culminates in an admonitory crescendo urging Lorenzo to consult his conscience before Truth, NT illus. Yet what it is that Truth most aims to reveal does not appear at all in the watercolor, NT , and only by inference in the conclusive engraving NT: Such a page, with some other text substituted for the announcement of Night the Fifth, would have confirmed what Truth is trying to tell in NT and has evidence to show in NT 43E: It was dated 22 Dec.
But solemn counsels, images of awe, Truths which eternity lets fall on man Blake made two watercolors, NT and , for these pages and the latter, at the top of the p. The theme of Truth, so forcefully enunciated in NT Moreover, the unmarked II. The figure of the traveler, as in subsequent design NT , is still more clearly identifiable as Young, rather than Lorenzo! We are to gather that this man in bed, in NT , is Young himself, who will soon get over his surprise and accept the book of Truths that has been produced by the combined authorship of Eternity and of Midnight, the colorist.
In the full-length watercolor sequence on Lorenzo, there are three decisive moments leading to a triumphal conclusion: Whether or not Blake expected a viewer to keep in mind a sequence spread out over so many pages can only be conjectured. Repeated gestures and motifs serve as reminders of ideas expressed earlier and create connections in ways that the soft-edged poem rarely does. In the engraved version, the cure in NT 40E is nearly conclusive; but in the watercolor version Lorenzo has a relapse, as foretold in NT and Then after more than designs of ups and downs, what ought to be the decisive cure is set to occur in NT , halfway through the last Night of the poem.
The resolution of the Lorenzo plot occurs with the casting out of a demon in Night Thoughts IX, 68; illus. In NT the nude figure of Lorenzo, curiously balanced, with knees drawn up, on a barren slope, and making contradictory hand gestures, one accepting, the other rejecting, is shown regurgitating a huge flaming salamander, issuing in a seven-pointed pyrotechnic burst, in what is unmistakably a visual representation of exorcism. Arch Cape, In this scene the man writhes on the ground and vomits out, in a sheet of fire, a small reptilian devil. A crowd of some 30 witnesses stands around to see Jesus effect the exorcism which, according to Luke, only briefly worked.
In this design, Lorenzo is positioned in what amounts to a combination of the postures of the resistant patient of Night Thoughts Although the Redeemer himself is not in evidence in NT , he has just appeared in that role in the recto drawing NT IX, 67 and will promptly reappear directing the fishers of mankind in NT IX, The prodigious salamander in NT , with its open mouth, forked tongue, and undulating tail, recalls the serpent engraved on the ellipsoid chalice in NT By Night the Ninth it has become all too clear that the Man Fallen Among Thieves had suffered a spiritual wound and that, consequently, the ominous-looking potion proposed by the Good Samaritan was, after all, the best medicine for what has ailed the recalcitrant Lorenzo all along—a homeopathic dose to cure the salamander of satanic Selfhood harbored in his breast.
There is a cosmic sign that the solitary exorcism in Night Thoughts is going to prove incomplete. It reflects back on what might have been accomplished in NT In NT two stars, one developed, the other unshapen, appear in a break between the white cloud above and the black cloud below, within which Lorenzo appears to be undergoing a self-exorcism. It must be observed, however, that there is a kind of vertical tunnel or vortex that extends down from above and effects the drawing-up of the flaming salamander that had been possessing the man, who is still unfree beneath the dark cloud.
To this point the salamander has reached only a position of defiance, mouth wide open, standing on its tail with a single flame-tip extending to the verge of the sky that contains the unshapen star, at left. Above a chorus of angels, who have been shown earlier in NT and NT , Christ the Creator performs a two-handed disposition of cosmic fires: With this right-handed God Blake makes an improvement.
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