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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").
124:. 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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printing. Sixteen copies of the original print of 1789–1793 are known. Three copies bearing a watermark of 1815 are more elaborately colored than the others.
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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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with Thel's Motto. This version of the image is from copy F currently held at the
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402:. Victoria, British Columbia: University of Victoria Department of English, 1990, p. 90-1. Print.
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431:. Victoria, British Columbia: University of Victoria Department of English, 1990, p. 47. Print.
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216:. ... Blake tells the same story, but in biological terms, not moral ones." —
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The Four and Twenty Elders
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Electronic Copies of Blake's original handpainted illustrations of the
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418:. 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
Harpies and the Suicides
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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
Seraphim led round their sunny flocks.
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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.
386:. 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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463:. Oxford University Press. p. 887.
447:ELH 47.2 (1980):p. 294. Web. 6 Feb 2010.
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764:Introduction
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18:Book of Thel
1577:(1989 play)
921:continental
681:The Blossom
535:bound with
84:illuminated
1620:1789 poems
1609:Categories
1574:In Lambeth
1255:and prints
1185:Palamabron
1150:Golgonooza
1140:Enitharmon
923:prophecies
736:Infant Joy
476:15 January
366:0385152132
324:31 October
290:References
186:Quotations
1358:paintings
1320:The Grave
1253:Paintings
1104:Mythology
909:Prophetic
879:To Tirzah
834:The Lilly
819:The Tyger
814:The Angel
154:The story
122:Eucharist
1586:Ancients
1529:The Lamb
1410:Sketches
671:The Lamb
345:(1988).
257:See also
146:—
1548:Related
1497:Musical
1215:Urthona
1200:Thiriel
1195:Tharmas
1190:Spectre
1130:Bromion
809:The Fly
741:A Dream
522:at the
349:(ed.).
284:(opera)
196:—
1540:(1998)
1532:(1982)
1524:(1965)
1516:(1958)
1508:(1943)
1297:Newton
1210:Urizen
1205:Tiriel
1165:Leutha
1155:Grodna
1125:Beulah
1120:Albion
1115:Ahania
1027:Milton
964:Tiriel
849:London
726:Spring
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271:(poem)
269:Tiriel
224:Trivia
208:Milton
73:Tiriel
68:Tiriel
1566:Blake
1175:Luvah
1145:Fuzon
1135:Enion
956:Other
911:books
721:Night
213:Comus
1364:Pity
1225:Vala
1220:Utha
1073:The
919:The
478:2017
465:ISBN
361:ISBN
326:2013
282:Thel
42:Thel
1243:Art
1180:Orc
1170:Los
1160:Har
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