- tional literalism of his other and more pictorial
work will be easily understood. Naturally his divinities are definite, because he thought that the more they were definite, the more they were divine. Naturally God was not to him a hazy light breaking through the tangle of the evolutionary undergrowth, nor a blinding brilliancy in the highest place of the heavens. God was to him the magnificent old man depicted in his dark and extraordinary illustrations of "Job," the old man with the monstrous muscles, the mild stern eyebrows, the long smooth silver hair and beard. In the dialogues between Jehovah and Job there is little difference between the two ponderous and palpable old men, except that the vision of Deity is a little more solid than the human being. But then Blake held that Deity is more solid than humanity. He held that what we call the ideal is not only more beautiful but more actual than the real. The ordinary educated modern person staring at these "Job" designs can only say that God is a mere elderly twin brother of Job. Blake would have at once retorted that Job was an image of God.
