Mirth 1820

Editor: So, this is William Blake’s “Mirth,” made around 1820, using pen, ink, and watercolor. The ethereal figures and their swirling dance create this otherworldly, almost dreamlike scene. What do you see in this work that perhaps I’m missing? Curator: Beyond the dreamlike quality, consider the sociopolitical context of Blake’s time. He was deeply critical of the Enlightenment's overemphasis on reason, which he saw as stifling imagination and spirituality. Doesn’t this “Mirth” serve as a radical assertion of the importance of joy, pleasure, and perhaps even ecstatic experience, against the rigid social norms of the early 19th century? Editor: That’s a really interesting take! So you’re saying this isn't just a depiction of joy, but also a kind of...rebellion? The figures definitely feel very unconstrained. Curator: Precisely. Blake uses the allegorical figure of Mirth to embody a challenge to established power structures. Look at the diverse bodies, some nude, others partially clothed – they defy easy categorization. Isn't it a rejection of the period's controlling gaze and expectations around morality and beauty? Where do you think he may be inviting viewers? Editor: He definitely has a perspective about individuality. I notice some figures rising towards the central character, is Blake implying anything there? Curator: Absolutely. Consider this: these could also reflect the artist's spiritual beliefs in radical inclusion that stood against a hierarchical worldview prevalent during that era. “Mirth” calls us to reconsider ways of connecting through acceptance that is both celebratory and liberating. Editor: I had only seen the beauty and the seeming lack of gravity of figures as lighthearted. You’ve encouraged me to think so much more deeply about this. Thank you. Curator: And you have brought me back to Blake’s visionary intention, this ability to create complex characters in ways that transform experience into a vibrant call of life.