In this essay Howard claims that The Marriage of Heaven and Hell is not addressed to the orthodox in general, but rather very specifically to the members of the New Jerusalem Church and the Joseph Johnson circle.

In the excerpt below, Wittreich treats The Marriage of Heaven and Hell not as satire, but as prophecy.

In this essay Tannenbaum examines The Marriage of Heaven and Hell less as polemic than as satire, situating it firmly in the Lucianic or "News from Hell" tradition.

In this essay, Miller questions the critical assessment of The Marriage as a revolutionary document, suggesting instead that it is far more paradoxical than the usual manifesto.

In the following excerpt, Swinburne ranks The Marriage of Heaven and Hell as Blake's greatest work

In this excerpt Emery finds The Marriage of Heaven and Hell chaotic in form yet full of energy and an important first step in the creation of Blake's universe.

In the following excerpt Nurmi focuses on The Marriage of Heaven and Hell as a philosophical manifesto that goes considerably beyond mere satire.

In this essay, originally published in 1985, Gleckner studies The Marriage's allusions to Spenser and Milton to determine when Blake is speaking ironically and when he is speaking "in his own voice. "

In this essay Stewart challenges the usual interpretations of the term "marriage" and explores the importance of the ideas of Behmen (Boehme) as a source for The Marriage of Heaven and Hell.

In this excerpt, Frye describes The Marriage of Heaven and Hell as a work that both participates in and departs from the tradition of English satire associated with Swift, Sterne, and others.

In this seminal essay on the contraries, originally published in 1971, Bloom contends that The Marriage of Heaven and Hell is dialectical in both form and content.

In the following excerpt, Bloom situates The Marriage of Heaven and Hell in the historical context of revolution both in America and in France during an age fearful of the energy that Blake celebrates.