By Michael Farrell (auth.)
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21 The question of discursive origins is, therefore, no longer pertinent, given that the discourse of Methodism was but one of a number of political and theological repertoires without origin or centre that Blake assimilated as part of a discursive eclecticism, or ‘mythology’. As Lévi-Strauss explains, the function of the bricoleur is mythopoeia, constructing systems of meaning from the debris of outmoded social discourses. The systems he creates are self-signifying structures of meaning and cannot be dismantled into their constituent parts for the purposes of methodological analysis, and therefore evade rational scrutiny.
Wesley habitually published such conversion narratives in his Arminian Magazine whereby, typically, the ‘inchained soul’ is set free through the gift of God’s grace. 35 In America, moreover, Blake’s reference to ‘the linen wrapped up’ is at once a reference to John 20: 5–7,36 and perhaps a subtle allusion to The Marriage of Heaven and Hell, where he compares the writings of Swedenborg to Christ’s ‘linen clothes folded up’ (E, 34). Given its embedding of various discourses, the poem simultaneously divorces itself from a historically specific context and yet retains a sense of immediacy and urgency in its representation of Revolution in apocalyptic terms, combining elements of millenarianism and Christian eschatology.
16 For my purposes here, the salient point regarding Schuchard’s substantiation of these suggestions is the fact that Wesley was involved in establishing the Fetter Lane society. Indeed, the Moravians played a key role in the early formation of Wesley’s distinctive ideas, and Methodism had a close – though often troubled – relationship to Moravianism throughout the second half of the eighteenth century. Could there, then, be an indirect Methodist influence on Blake’s 32 Blake and the Methodists thought and work through his mother?
