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Thel wishes to enter the world of experience and leave behind her innocent paradise. However, once Thel enters the world of experience, she cowers in terror at the thought of mortality and the uselessness of human beings if every action leads toward the grave. This can also be interpreted as Thel’s fear of losing innocence and virginity upon entering the world of adult sexuality. In other words, Thel’s fear of growing up is what keeps her from actually living. When she flees from the experienced world because it appears as her tombstone, she unwittingly flees life itself. William Blake has put a microscope on the conflict between innocence and experience and he has found that innocence must take on a more elevated meaning, one found through suffering, that Thel can never reach so long as she is gripped by her fear of opening herself up to risk. The idea that Thel’s future life was one of despair and death can be read as another example of Thel’s skewed perspective. Thel is surprised by her brilliance and says that the world of experience looks like a “chamber of horrors.” It has also been suggested that the Worm has a part in the conflict between innocence and experience. The Worm is speaking as a messenger for the world of experience, and his words are inaudible to Thel because the Worm is not a part of her realm. The Worm speaks of phallic sexuality and the guaranteed death of mortality. This creates a mediator when she gives the voice to the Clod of Clay. Now the Clod of Clay acts as an interface between innocence and experience. A visual criticism of Thel's fearful rejection of the natural progression from innocence to experience appears in the drawing containing the words "The End": children riding a serpent, a frequent iconographic symbol in Blake (cf. two instances in "Nurses Song," "Songs of
Innocence").
113:. The religious connotations of the rod and bowl help explain the disillusionment that many Romantic writers, notably William Blake, had with the state church. This type of theological alienation is consistent with the revolutionary and rebellious sentiments of the era. Another interpretation of the silver rod and the golden bowl are that of the male and female genitalia. Wisdom resides in the male organ and Love resides in the female organ. Should one accept this interpretation, the rod and bowl are transformed from an imperishable state to one of mortal flesh, and the reader acknowledges that a voice of authority is narrating the poem’s action. Blake inscribed the “Motto” plate after he had already composed the first five plates, and the dates suggest that the Motto plate and plate 6 were created at or near the same time. Since Thel’s Motto is clearly an afterthought to the Book, one can connect the final plate, plate 6, and Thel’s Motto. The connection between the mole’s pit and the subterranean area that Thel enters in plate 6 suggests the disparate knowledge between beings in separate domains. The eagle knows only the sky and must ask the mole to gain knowledge about the pit; likewise, Thel knows only innocence and eternity and must be endowed mortality if she wants to learn about the ways of the mortal beings on Earth.
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Lily of the Valley who tries to comfort her. When Thel remains uncomforted, the Lily sends her on to ask the Cloud. The Cloud explains that he is part of a natural process and, although he sometimes disappears, he is never gone forever. Thel replies that she is not like the Cloud and when she disappears she will not return. So the Cloud suggests asking the same question of the Worm. The Worm is still a child and cannot answer. Instead it is the Worm’s mother, the Clod of Clay, who answers. The Clod explains that we do not live for ourselves, but for others. She invites Thel to enter into her underground realm and see the dark prison of the dead where Thel herself will one day reside. However, Thel is assailed by mysterious voices asking a whole series of yet more terrible questions about existence. Uttering a shriek, she flees back to her home in the Vales of Har. The pit represents sex and mortality of life, while the Vales of Har represent virginity and eternity. The first part of the poem shows the good part of life as in
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In The Book of Thel, the Vales of Har are depicted as an edenic paradise that lived in harmony; a world where the rain feeds the flowers and the clod of clay feeds the infantile worm. The common belief in this world among the characters is that “everything that lives Lives not alone nor for itself.”
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Thel’s Motto can be interpreted as Blake’s rejection of the Church of
England. The “silver rod” where Wisdom cannot be found represents a scepter or staff that would have been used in traditional kingship or even high-ranking ecclesiasts before the rise of nationalism and the consequent fall of the
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is an allegory of the unborn spirit visiting the world of generation. Thel rejects the self-sacrificing aspects of experience and flees back to eternity. The symbols of the Lily-of-the-Valley, the Cloud, the Worm and the Clod of Clay represent idealistic fancy, youth, adolescence and motherhood."
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The daughters of Mne
Seraphim are all shepherdesses in the Vales of Har, apart from the youngest, Thel. She spends her time wandering on her own, trying to find the answer to the question that torments her: why does the springtime of life inevitably fade so that all things must end? She meets the
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papacy in the 16th and 17th centuries. The Motto goes on to express doubt that Love can be found in a “golden bowl.” The image of the golden bowl refers to a chalice that is raised when priests in the
Christian tradition celebrate the
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has set 'The Book of Thel' to music (2001) ( a composition for mezzo-soprano or soprano, flute, clarinet, Glockenspiel, marimba, violin, viola, cello & piano)
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Thel is the allegory of the unborn spirit who has gathered experience from her own discoveries and has decided to remain forever innocent.
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The Four and Twenty Elders
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407:. Princeton, NJ: Princeton University Press, 1954, P. 119-21. Print.
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From A Blake
Dictionary: The Ideas and Symbols of William Blake
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is relatively short and easier to understand. The metre is a
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The Wood of the Self-Murderers: The
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All but the youngest; she in paleness sought the secret air.
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Themes from
William Blake's The Marriage of Heaven and Hell
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The daughters of Mne
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The Works of William Blake: Poetic, Symbolic and Critical
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And thus her gentle lamentation falls like morning dew.
375:. Lewiston, NY: Edwin Mellen Press, 1995, p. 41. Print.
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Morris Eaves; Robert N. Essick; Joseph Viscomi (eds.).
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To fade away like morning beauty from her mortal day:
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by Samuel Foster Damon Published by UPNE 1988, p. 52
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recorded an adaptation of this for his 1998 album "
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Down by the river of Adona her soft voice is heard:
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68:. Most of the poem is in unrhymed verse.
452:. Oxford University Press. p. 887.
436:ELH 47.2 (1980):p. 294. Web. 6 Feb 2010.
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788:Nurse's Song
753:Introduction
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650:The Shepherd
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1566:(1989 play)
910:continental
670:The Blossom
524:bound with
73:illuminated
1609:1789 poems
1598:Categories
1563:In Lambeth
1244:and prints
1174:Palamabron
1139:Golgonooza
1129:Enitharmon
912:prophecies
725:Infant Joy
465:15 January
355:0385152132
313:31 October
279:References
175:Quotations
1347:paintings
1309:The Grave
1242:Paintings
1093:Mythology
898:Prophetic
868:To Tirzah
823:The Lilly
808:The Tyger
803:The Angel
143:The story
111:Eucharist
1575:Ancients
1518:The Lamb
1399:Sketches
660:The Lamb
334:(1988).
246:See also
135:—
1537:Related
1486:Musical
1204:Urthona
1189:Thiriel
1184:Tharmas
1179:Spectre
1119:Bromion
798:The Fly
730:A Dream
511:at the
338:(ed.).
273:(opera)
185:—
1529:(1998)
1521:(1982)
1513:(1965)
1505:(1958)
1497:(1943)
1286:Newton
1199:Urizen
1194:Tiriel
1154:Leutha
1144:Grodna
1114:Beulah
1109:Albion
1104:Ahania
1016:Milton
953:Tiriel
838:London
715:Spring
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260:(poem)
258:Tiriel
213:Trivia
197:Milton
62:Tiriel
57:Tiriel
1555:Blake
1164:Luvah
1134:Fuzon
1124:Enion
945:Other
900:books
710:Night
202:Comus
1353:Pity
1214:Vala
1209:Utha
1062:The
908:The
467:2017
454:ISBN
350:ISBN
315:2013
271:Thel
31:Thel
1232:Art
1169:Orc
1159:Los
1149:Har
520:of
199:'s
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