Allen Ginsberg - On His Ecstatic Experiences Reading William Blake, Among Others lyrics
Interviewer: What was the Blake experience you speak of?
Ginsberg: About 1945 I got interested in Supreme Reality with a capital S and R, and I wrote big long poems about a last voyage looking for Supreme Reality. Which was like a Dostoevskian or Thomas Wolfe–ian idealization or like Rimbaud—what was Rimbaud's term, new vision, was that it? Or Kerouac was talking about a new vision, verbally, and intuitively out of longing, but also out of a funny kind of tolerance of this universe. In 1948 in East Harlem in the summer I was living—this is like the Ancient Mariner, I've said this so many times: “stoppeth one of three. / ‘By thy long grey beard ... '” Hang an albatross around your neck ... —the one thing I felt at the time was that it would be a terrible horror, that in one or two decades I would be trying to explain to people that one day something like this happened to me! I even wrote a long poem saying, "I will grow old, a grey and groaning man,/ and with each hour the same thought, and with each thought the same denial./ Will I spend my life in praise of the idea of God?/ Time leaves no hope. We creep and wait. We wait and go alone." Psalm II—which I never published. So anyway—there I was in my bed in Harlem ... jacking off. With my pants open, lying around on a bed by the windowsill, looking out into the cornices of Harlem and the sky above. And I had just come. And had perhaps hardly even wiped the come off my thighs, my trousers or whatever it was. As I often do, I had been jacking off while reading —I think it's probably a common phenomenon to be noticed among adolescents. Though I was a little older than an adolescent at the time. About twenty-two. There's a kind of interesting thing about, you know, distracting your attention while you jack off, that is, you know, reading a book or looking out of a window, or doing something else with the conscious mind that kind of makes it sexier.
So anyway, what I had been doing that week—I'd been in a very lonely solitary state, dark night of the soul sort of, reading St. John of the Cross, maybe on account of that everybody'd gone away that I knew, Burroughs was in Mexico, Jack was out in Long Island and relatively isolated, we didn't see each other, and I had been very close with them for several years. Huncke I think was in jail, or something. Anyway, there was nobody I knew. Mainly the thing was that I'd been making it with N. C., and finally I think I got a letter from him saying it was all off, no more, we shouldn't consider ourselves lovers any more on account of it just wouldn't work out. But previously we'd had an understanding that we—Neal Cassady, I said N. C. but I suppose you can use his name—we'd had a big tender lovers' understanding. But I guess it got too much for him, partly because he was three thousand miles away and he had six thousand girlfriends on the other side of the continent, who were keeping him busy, and then here was my lone cry of despair from New York. So. I got a letter from him saying, Now, Allen, we gotta move on to new territory. So I felt this is like a great mortal blow to all of my tenderest hopes. And I figured I'd never find any sort of psycho-spiritual sexo-cock jewel fulfillment in my existence! So, I went into ... like I felt cut off from what I'd idealized romantically. And I was also graduating from school and had nowhere to go and the difficulty of getting a job. So finally there was nothing for me to do except to eat vegetables and live in Harlem. In an apartment I'd rented from someone. Sublet.
So, in that state therefore, of hopelessness, or dead end, change of phase you know—growing up—and in an equilibrium in any case, a psychid, a mental equilibrium of a kind, like of having no New Vision and no Supreme Reality and nothing but the world in front of me, and of not knowing what to do with that ... there was a funny balance of tension, in every direction. And just after I came, on this occasion, with a Blake book on my lap—I wasn't even reading, my eye was idling over the page of The Sunflower, and it suddenly appeared—the poem I'd read a lot of times before, overfamiliar to the point where it didn't make any particular meaning except some sweet thing about flowers—and suddenly I realized that the poem was talking about me. "Ah, Sun-flower! weary of time, / Who countest the steps of the Sun; / Seeking after that sweet golden clime / Where the traveller's journey is done." Now, I began understanding it, the poem while looking at it, and suddenly, simultaneously with understanding it, heard a very deep earth graven voice in the room, which I immediately assumed, I didn't think twice, was Blake's voice; it wasn't any voice that I knew, though I had previously had a conception of a voice of rock, in a poem, some image like that—or maybe that came after this experience.
And my eye on the page, simultaneously the auditory hallucination, or whatever terminology used here, the apparitional voice, in the room, woke in me a further, deeper understanding of the poem, because the voice was so completely tender and beautifully ... ancient. Like the voice of the Ancient of Days. But the peculiar quality of the voice was something unforgettable because it was like God had a human voice, with all the infinite tenderness and anciency and mortal gravity of a living Creator speaking to his son. "Where the Youth pined away with desire, / And the pale Virgin shrouded in snow / Arise from their graves, and aspire / Where my Sunflower wishes to go." Meaning that there was a place, there was a sweet golden clime, and the sweet golden, what was that ... and simultaneous to the voice there was also an emotion, risen in my soul in response to the voice, and a sudden visual realization of the same awesome phenomena. That is to say, looking out at the window, through the window at the sky, suddenly it seemed that I saw into the depths of the universe, by looking simply into the ancient sky. The sky suddenly seemed very ancient. And this was the very ancient place that he was talking about, the sweet golden clime, I suddenly realized that this existence was it! And that I was born in order to experience up to this very moment that I was having this experience, to realize what this was all about—in other words that this was the moment that I was born for. This initiation. Or this vision or this consciousness, of being alive unto myself, alive myself unto the Creator. As the son of the Creator—who loved me, I realized, or who responded to my desire, say. It was the same desire both ways.
Anyway my first thought was this was what I was born for, and second thought, never forget—never forget, never renege, never deny. Never deny the voice no, never forget it, don't get lost mentally wandering in other spirit worlds or American or job worlds or advertising worlds or war worlds or earth worlds. But the spirit of the universe was what I was born to realize. What I was speaking about visually was, immediately, that the cornices in the old tenement building in Harlem across the backyard court had been carved very finely in 1890 or 1910. And were like the solidification of a great deal of intelligence and care and love also. So that I began noticing in every corner where I looked evidence of a living hand, even in the bricks, in the arrangement of each brick. Some hand placed them there—that some hand had placed the whole universe in front of me. That some hand had placed the sky. No, that's exaggerating—not that some hand had placed the sky but that the sky was the living blue hand itself. Or that God was in front of my eyes—existence itself was God. Well, the formulations are like that—I didn't formulate it in exactly those terms, what I was seeing was a visionary thing, it was a lightness in my body ... my body suddenly felt light, and a sense of cosmic consciousness, vibrations, understanding, awe, and wonder and surprise. And it was a sudden awakening into a totally deeper real universe than I'd been existing in. So, I'm trying to avoid generalizations about that sudden deeper real universe and keep it strictly to observations of phenomenal data, or a voice with a certain sound, the appearance of cornices, the appearance of the sky say, of the great blue hand, the living hand—to keep to images.
But anyway—the same ... petite sensation recurred several minutes later, with the same voice, while reading the poem “The Sick Rose.” This time it was a slightly different sense-depth-mystic impression. Because The Sick Rose—you know I can't interpret the poem now, but it had a meaning—I mean I can interpret it on a verbal level, the sick rose is myself, or self, or the living body, sick because the mind, which is the worm “That flies in the night, / In the howling storm,” or Urizen, reason; Blake's character might be the one that's entered the body and is destroying it, or let us say death, the worm as being death, the natural process of death, some kind of mystical being of its own trying to come in and devour the body, the rose. Blake's drawing for it is complicated, it's a big drooping rose, drooping because it's dying, and there's a worm in it, and the worm is wrapped around a little sprite that's trying to get out of the mouth of the rose.
But anyway, I experienced The Sick Rose, with the voice of Blake reading it, as something that applied to the whole universe, like hearing the doom of the whole universe, and at the same time the inevitable beauty of doom. I can't remember now, except it was very beautiful and very awesome. But a little of it slightly scary, having to do with the knowledge of death—my death and also the death of being itself, and that was the great pain. So, like a prophecy, not only in human terms but a prophecy as if Blake had penetrated the very secret core of the entire universe and had come forth with some little magic formula statement in rhyme and rhythm that, if properly heard in the inner inner ear, would deliver you beyond the universe.
So then, the other poem that brought this on in the same day was The Little Girl Lost, where there was a repeated refrain,
Do father, mother, weep,
Where can Lyca sleep?
How can Lyca sleep
If her mother weep?
“If her heart does ache
Then let Lyca wake;
[Lyrics from: https:/lyrics.az/allen-ginsberg/interview-with-the-paris-review-1966/on-his-ecstatic-experiences-reading-william-blake-among-others.html]
If my mother sleep,
Lyca shall not weep."
It's that hypnotic thing—and I suddenly realized that Lyca was me, or Lyca was the self; father, mother seeking Lyca, was God seeking, Father, the Creator; and “If her heart does ache / Then let Lyca wake”—wake to what? Wake meaning wake to the same awakeness I was just talking about—of existence in the entire universe. The total consciousness then, of the complete universe. Which is what Blake was talking about. In other words a breakthrough from ordinary habitual quotidian consciousness into consciousness that was really seeing all of heaven in a flower. Or what was it, eternity in a flower ... heaven in a grain of sand. As I was seeing heaven in the cornice of the building. By heaven here I mean this imprint or concretization or living form, of an intelligent hand—the work of an intelligent hand, which still had the intelligence molded into it. The gargoyles on the Harlem cornices. What was interesting about the cornice was that there's cornices like that on every building, but I never noticed them before. And I never realized that they meant spiritual labor, to anyone—that somebody had labored to make a curve in a piece of tin—to make a cornucopia out of a piece of industrial tin. Not only that man, the workman, the artisan, but the architect had thought of it, the builder had paid for it, the smelter had smelt it, the miner had dug it up out of the earth, the earth had gone through eons preparing it. So the little molecules had slumbered for ... for kalpas. So out of all of these kalpas it all got together in a great succession of impulses, to be frozen finally in that one form of a cornucopia cornice on the building front. And God knows how many people made the moon. Or what spirits labored ... to set fire to the sun. As Blake says, “When I look in the sun I don't see the rising sun I see a band of angels singing holy, holy, holy.” Well, his perception of the field of the sun is different from that of a man who just sees the sun sun, without any emotional relationship to it.
But then, there was a point later in the week when the intermittent flashes of the same ... bliss—because the experience was quite blissful—came back. In a sense all this is described in The Lion for Real by anecdotes of different experiences—actually it was a very difficult time, which I won't go into here. Because suddenly I thought, also simultaneously, Ooh, I'm going mad! That's described in the line in “Howl:” “who thought they were only mad when Baltimore gleamed in supernatural ecstasy”—“who thought they were only mad.” If it were only that easy! In other words it'd be a lot easier if you just were crazy, instead of... then you could chalk it up, “Well I'm nutty”—but on the other hand what if it's all true and you're born into this great cosmic universe in which you're a spirit angel—terrible fucking situation to be confronted with. It's like being woken up one morning by Joseph K's captors. Actually what I think I did was there was a couple of girls living next door and I crawled out on the fire escape and tapped on their window and said, “I've seen God!” and they banged the window shut. Oh, what tales I could have told them if they'd let me in! Because I was in a very exalted state of mind and the consciousness was still with me—I remember I immediately rushed to Plato and read some great image in the Phaedrus about horses flying through the sky, and rushed over to St. John and started reading fragments of con un no saber sabi endo ... que me quede balbuciendo, and rushed to the other part of the bookshelf and picked up Plotinus about The Alone—the Plotinus I found more difficult to interpret.
But I immediately doubled my thinking process, quadrupled, and I was able to read almost any text and see all sorts of divine significance in it. And I think that week or that month I had to take an examination in John Stuart Mill. And instead of writing about his ideas I got completely hung up on his experience of reading—was it Wordsworth? Apparently the thing that got him back was an experience of nature that he received keyed off by reading Wordsworth, on “sense sublime” or something. That's a very good description, that sense sublime of something far more deeply interfused, whose dwelling is the light of setting suns, and the round ocean, and the ... the living air, did he say? The living air—see just that hand again—and in the heart of man. So I think this experience is characteristic of all high poetry. I mean that's the way I began seeing poetry as the communication of the particular experience—not just any experience but this experience.
Interviewer: Have you had anything like this experience again?
Ginsberg: Yeah I'm not finished with this period. Then, in my room, I didn't know what to do. But I wanted to bring it up, so I began experimenting with it, without Blake. And I think it was one day in my kitchen—I had an old-fashioned kitchen with a sink with a tub in it with a board over the top—I started moving around and sort of shaking with my body and dancing up and down on the floor and saying, “Dance! Dance! Dance! Dance! Spirit! Spirit! Spirit! Dance!” and suddenly I felt like Faust, calling up the devil. And then it started coming over me, this big ... creepy feeling, cryptozoid or monozoidal, so I got all scared and quit.
Then I was walking around Columbia and I went in the Columbia bookstore and was reading Blake again, leafing over a book of Blake, I think it was “The Human Abstract”: “Pity would be no more.” And suddenly it came over me in the bookstore again, and I was in the eternal place once more, and I looked around at everybody's faces, and I saw all these wild animals! Because there was a bookstore clerk there who I hadn't paid much attention to, he was just a familiar fixture in the bookstore scene and everybody went in the bookstore every day like me, because downstairs there was a café and upstairs there were all these clerks that we were all familiar with—this guy had a very long face, you know some people look like giraffes. So he looked kind of giraffish. He had a kind of a long face with a long nose. I don't know what kind of sex life he had, but he must have had something. But anyway I looked in his face and I suddenly saw like a great tormented soul—and he had just been somebody whom I'd regarded as perhaps a not particularly beautiful or sexy character, or lovely face, but you know someone familiar, and perhaps a pleading cousin in the universe. But all of a sudden I realized that he knew also, just like I knew. And that everybody in the bookstore knew, and that they were all hiding it! They all had the consciousness, it was like a great unconscious that was running between all of us that everybody was completely conscious, but that the fixed expressions that people have, the habitual expressions, the manners, the mode of talk, are all masks hiding this consciousness. Because almost at that moment it seemed that it would be too terrible if we communicated to each other on a level of total consciousness and awareness each of the other—like it would be too terrible, it would be the end of the bookstore, it would be the end of civ—not civilization, but in other words the position that everybody was in was ridiculous, everybody running around peddling books to each other. Here in the universe! Passing money over the counter, wrapping books in bags and guarding the door, you know, stealing books, and the people sitting up making accountings on the upper floor there, and people worrying about their exams walking through the bookstore, and all the millions of thoughts the people had—you know, that I'm worrying about—whether they're going to get laid or whether anybody loves them, about their mothers dying of cancer or, you know, the complete death awareness that everybody has continuously with them all the time—all of a sudden revealed to me at once in the faces of the people, and they all looked like horrible grotesque masks, grotesque because hiding the knowledge from each other. Having a habitual conduct and forms to prescribe, forms to fulfill. Roles to play. But the main insight I had at that time was that everybody knew. Everybody knew completely everything. Knew completely everything in the terms that I was talking about.
Interviewer: Do you think they still know?
Ginsberg: I'm more sure of it now. Sure. All you have to do is try and make somebody. You realize that they knew all along you were trying to make them. But until that moment you never break through to communication on the subject.
Interviewer: Why not?
Ginsberg: Well, fear of rejection. The twisted faces of all those people, the faces were twisted by rejection. And hatred of self, finally. The internalization of that rejection. And finally disbelief in that shining self. Disbelief in that infinite self. Partly because the particular ... partly because the awareness that we all carry is too often painful, because the experience of rejection and lack-love and cold war—I mean the whole cold war is the imposition of a vast mental barrier on everybody, a vast antinatural psyche. A hardening, a shutting off of the perception of desire and tenderness that everybody knows and that is the very structure of ... the atom! Structure of the human body and organism. That desire built in. Blocked. “Where the Youth pined away with desire, / And the pale Virgin shrouded in snow.” Or as Blake says, “And mark in every face I meet / Marks of weakness, marks of woe.” So what I was thinking in the bookstore was the marks of weakness, marks of woe. Which you can just look around and look at anybody's face right next to you now always—you can see it in the way the mouth is pursed, you can see it in the way the eyes blink, you can see it in the way the gaze is fixed down at the matches. It's the self-consciousness that is a substitute for communication with the outside. This consciousness pushed back into the self and thinking of how it will hold its face and eyes and hands in order to make a mask to hide the flow that is going on. Which it's aware of, which everybody is aware of really! So let's say, shyness. Fear. Fear of like total feeling, really, total being, is what it is.
So the problem then was, having attained realization, how to safely manifest it and communicate it. Of course there was the old Zen thing, when the sixth patriarch handed down the little symbolic oddments and ornaments and books and bowls, stained bowls too ... when the fifth patriarch handed them down to the sixth patriarch he told him to hide them and don't tell anybody you're patriarch because it's dangerous, they'll kill you. So there was that immediate danger. It's taken me all these years to manifest it and work it out in a way that's materially communicable to people. Without scaring them or me. Also movements of history and breaking down the civilization. To break down everybody's masks and roles sufficiently so that everybody has to face the universe and the possibility of the sick rose coming true and the atom bomb. So it was an immediate messianic thing. Which seems to be becoming more and more justified. And more and more reasonable in terms of the existence that we're living.
So. Next time it happened was about a week later walking along in the evening on a circular path around what's now, I guess, the garden or field in the middle of Columbia University, by the library. I started invoking the spirit, consciously trying to get another depth perception of cosmos. And suddenly it began occurring again, like a sort of breakthrough again, but this time—this was the last time in that period—it was the same depth of consciousness or the same cosmical awareness but suddenly it was not blissful at all but it was frightening. Some like real serpent-fear entering the sky. The sky was not a blue hand anymore but like a hand of death coming down on me some really scary presence, it was almost as if I saw God again except God was the Devil. The consciousness itself was so vast, much more vast than any idea of it I'd had or any experience I'd had, that it was not even human anymore—and was in a sense a threat, because I was going to die into that inhuman ultimately. I don't know what the score was there—I was too cowardly to pursue it. To attend and experience completely the Gates of Wrath—there's a poem of Blake's that deals with that, “To find the Western Path / Right through the Gates of Wrath.” But I didn't urge my way there, I shut it all off. And got scared, and thought, I've gone too far.