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The Book of Urizen: Chapter IX

The Book of Urizen: Chapter IX
. Then the Inhabitants of those Cities:
Felt their Nerves change into Marrow
And hardening Bones began
In swift diseases and torments,
In throbbings & shootings & grindings
Thro' all the coasts; till weaken'd
The Senses inward rush'd shrinking,
Beneath the dark net of infection.
. Till the shrunken eyes clouded over
Discernd not the woven hipocrisy
But the streaky slime in their heavens
Brought together by narrowing perceptions
Appeard transparent air; for their eyes
Grew small like the eyes of a man
And in reptile forms shrinking together
Of seven feet stature they remaind
. Six days they shrunk up from existence
And on the seventh day they rested
And they bless'd the seventh day, in sick hope:
And forgot their eternal life
. And their thirty cities divided
In form of a human heart
No more could they rise at will
In the infinite void, but bound down
To earth by their narrowing perceptions
They lived a period of years
Then left a noisom body
To the jaws of devouring darkness
. And their children wept, & built
Tombs in the desolate places,
And form'd laws of prudence, and call'd them
The eternal laws of God
. And the thirty cities remaind
Surrounded by salt floods, now call'd
Africa: its name was then Egypt.
. The remaining sons of Urizen
Beheld their brethren shrink together
Beneath the Net of Urizen;
Perswasion was in vain;
For the ears of the inhabitants,
Were wither'd, & deafen'd, & cold:
And their eyes could not discern,
Their brethren of other cities.
. So Fuzon call'd all together
The remaining children of Urizen:


And they left the pendulous earth:
They called it Egypt, & left it.
. And the salt ocean rolled englob'd.
447

The Book of Urizen: Chapter III

The Book of Urizen: Chapter III
. The voice ended, they saw his pale visage
Emerge from the darkness; his hand
On the rock of eternity unclasping
The Book of brass. Rage siez'd the strong
. Rage, fury, intense indignation
In cataracts of fire blood & gall
In whirlwinds of sulphurous smoke:
And enormous forms of energy;
All the seven deadly sins of the soul
In living creations appear'd
In the flames of eternal fury.
. Sund'ring, dark'ning, thund'ring!
Rent away with a terrible crash
Eternity roll'd wide apart
Wide asunder rolling
Mountainous all around
Departing; departing; departing:
Leaving ruinous fragments of life
Hanging frowning cliffs & all between
An ocean of voidness unfathomable.
. The roaring fires ran o'er the heav'ns
In whirlwinds & cataracts of blood
And o'er the dark desarts of Urizen
Fires pour thro' the void on all sides
On Urizens self-begotten armies.
. But no light from the fires. all was darkness
In the flames of Eternal fury
. In fierce anguish & quenchless flames
To the desarts and rocks He ran raging
To hide, but He could not: combining
He dug mountains & hills in vast strength,
He piled them in incessant labour,
In howlings & pangs & fierce madness
Long periods in burning fires labouring
Till hoary, and age-broke, and aged,
In despair and the shadows of death.
. And a roof, vast petrific around,
On all sides He fram'd: like a womb;
Where thousands of rivers in veins
Of blood pour down the mountains to cool
The eternal fires beating without
From Eternals; & like a black globe
View'd by sons of Eternity, standing
On the shore of the infinite ocean
Like a human heart strugling & beating
The vast world of Urizen appear'd.


. And Los round the dark globe of Urizen,
Kept watch for Eternals to confine,
The obscure separation alone;
For Eternity stood wide apart,
As the stars are apart from the earth
. Los wept howling around the dark Demon:
And cursing his lot; for in anguish,
Urizen was rent from his side;
And a fathomless void for his feet;
And intense fires for his dwelling.
. But Urizen laid in a stony sleep
Unorganiz'd, rent from Eternity
. The Eternals said: What is this? Death
Urizen is a clod of clay.
. Los howld in a dismal stupor,
Groaning! gnashing! groaning!
Till the wrenching apart was healed
. But the wrenching of Urizen heal'd not
Cold, featureless, flesh or clay,
Rifted with direful changes
He lay in a dreamless night
. Till Los rouz'd his fires, affrighted
At the formless unmeasurable death.
400

The Book of Urizen: Chapter I

The Book of Urizen: Chapter I
. Lo, a shadow of horror is risen
In Eternity! Unknown, unprolific!
Self-closd, all-repelling: what Demon
Hath form'd this abominable void
This soul-shudd'ring vacuum?--Some said
"It is Urizen", But unknown, abstracted
Brooding secret, the dark power hid.
. Times on times he divided, & measur'd
Space by space in his ninefold darkness
Unseen, unknown! changes appeard
In his desolate mountains rifted furious
By the black winds of perturbation
. For he strove in battles dire
In unseen conflictions with shapes
Bred from his forsaken wilderness,
Of beast, bird, fish, serpent & element
Combustion, blast, vapour and cloud.
. Dark revolving in silent activity:
Unseen in tormenting passions;
An activity unknown and horrible;
A self-contemplating shadow,
In enormous labours occupied
. But Eternals beheld his vast forests
Age on ages he lay, clos'd, unknown
Brooding shut in the deep; all avoid
The petrific abominable chaos
. His cold horrors silent, dark Urizen
Prepar'd: his ten thousands of thunders
Rang'd in gloom'd array stretch out across
The dread world, & the rolling of wheels
As of swelling seas, sound in his clouds
In his hills of stor'd snows, in his mountains
Of hail & ice; voices of terror,
Are heard, like thunders of autumn,
When the cloud blazes over the harvests
426

The Book of Thel

The Book of Thel
Does the Eagle know what is in the pit?
Or wilt thou go ask the Mole?
Can Wisdom be put in a silver rod?
Or Love in a golden bowl?
I
. The daughters of the Seraphim led round their sunny flocks,
. All but the youngest: she in paleness sought the secret air,
. To fade away like morning beauty from her mortal day:
. Down by the river of Adona her soft voice is heard,
. And thus her gentle lamentation falls like morning dew:
. 'O life of this our spring! why fades the lotus of the water,
. Why fade these children of the spring, born but to smile and fall?
. Ah! Thel is like a wat'ry bow, and like a parting cloud;
. Like a reflection in a glass; like shadows in the water;
. Like dreams of infants, like a smile upon an infant's face;
. Like the dove's voice; like transient day; like music in the air.
. Ah! gentle may I lay me down, and gentle rest my head,
. And gentle sleep the sleep of death, and gentle hear the voice
. Of him that walketh in the garden in the evening time.'
. The Lily of the valley, breathing in the humble grass,
. Answer'd the lovely maid and said: 'I am a wat'ry weed,
. And I am very small and love to dwell in lowly vales;
. So weak, the gilded butterfly scarce perches on my head.
. Yet I am visited from heaven, and he that smiles on all
. Walks in the valley and each morn over me spreads his hand,
. Saying, 'Rejoice, thou humble grass, thou new-born lily-flower,
. Thou gentle maid of silent valleys and of modest brooks;
. For thou shalt be clothed in light, and fed with morning manna,
. Till summer's heat melts thee beside the fountains and the springs
. To flourish in eternal vales.' Then why should Thel complain?
. Why should the mistress of the vales of Har utter a sigh?'
. She ceas'd and smil'd in tears, then sat down in her silver shrine.
. Thel answer'd: 'O thou little virgin of the peaceful valley,
. Giving to those that cannot crave, the voiceless, the o'ertired;
. Thy breath doth nourish the innocent lamb, he smells thy milky garments,
. He crops thy flowers while thou sittest smiling in his face,
. Wiping his mild and meekin mouth from all contagious taints.
. Thy wine doth purify the golden honey; thy perfume,
. Which thou dost scatter on every little blade of grass that springs,
. Revives the milked cow, and tames the fire-breathing steed.
. But Thel is like a faint cloud kindled at the rising sun:
. I vanish from my pearly throne, and who shall find my place?'
. 'Queen of the vales,' the Lily answer'd, 'ask the tender cloud,
. And it shall tell thee why it glitters in the morning sky,
. And why it scatters its bright beauty thro' the humid air.
. Descend, O little Cloud, and hover before the eyes of Thel.'


. The Cloud descended, and the Lily bow'd her modest head
. And went to mind her numerous charge among the verdant grass.
II
. 'O little Cloud,' the virgin said, 'I charge thee tell to me
. Why thou complainest not when in one hour thou fade away:
. Then we shall seek thee, but not find. Ah! Thel is like to thee:
. I pass away: yet I complain, and no one hears my voice.'
. The Cloud then shew'd his golden head and his bright form emerg'd,
. Hovering and glittering on the air before the face of Thel.
. 'O virgin, know'st thou not our steeds drink of the golden springs
. Where Luvah doth renew his horses? Look'st thou on my youth,
. And fearest thou, because I vanish and am seen no more,
. Nothing remains? O maid, I tell thee, when I pass away
. It is to tenfold life, to love, to peace and raptures holy:
. Unseen descending, weigh my light wings upon balmy flowers,
. And court the fair-eyed dew to take me to her shining tent:
. The weeping virgin trembling kneels before the risen sun,
. Till we arise link'd in a golden band and never part,
. But walk united, bearing food to all our tender flowers.'
. 'Dost thou, O little Cloud? I fear that I am not like thee,
. For I walk thro' the vales of Har, and smell the sweetest flowers,
. But I feed not the little flowers; I hear the warbling birds,
. But I feed not the warbling birds; they fly and seek their food:
. But Thel delights in these no more, because I fade away;
. And all shall say, 'Without a use this shining woman liv'd,
. Or did she only live to be at death the food of worms?' '
. The Cloud reclin'd upon his airy throne and answer'd thus:
. 'Then if thou art the food of worms, O virgin of the skies,
. How great thy use, how great thy blessing! Every thing that lives
. Lives not alone nor for itself. Fear not, and I will call
. The weak worm from its lowly bed, and thou shalt hear its voice,
. Come forth, worm of the silent valley, to thy pensive queen.'
. The helpless worm arose, and sat upon the Lily's leaf,
. And the bright Cloud sail'd on, to find his partner in the vale.
III
. Then Thel astonish'd view'd the Worm upon its dewy bed.
. 'Art thou a Worm? Image of weakness, art thou but a Worm?
. I see thee like an infant wrapped in the Lily's leaf
. Ah! weep not, little voice, thou canst not speak, but thou canst weep.
. Is this a Worm? I see thee lay helpless and naked, weeping,


. And none to answer, none to cherish thee with mother's smiles.'
. The Clod of Clay heard the Worm's voice and rais'd her pitying head:
. She bow'd over the weeping infant, and her life exhal'd
. In milky fondness: then on Thel she fix'd her humble eyes.
. 'O beauty of the vales of Har! we live not for ourselves.
. Thou seest me the meanest thing, and so I am indeed.
. My bosom of itself is cold, and of itself is dark;
. But he, that loves the lowly, pours his oil upon my head,
. And kisses me, and binds his nuptial bands around my breast,
. And says: 'Thou mother of my children, I have loved thee
. And I have given thee a crown that none can take away.'
. But how this is, sweet maid, I know not, and I cannot know;
. I ponder, and I cannot ponder; yet I live and love.'
. The daughter of beauty wip'd her pitying tears with her white veil,
. And said: 'Alas! I knew not this, and therefore did I weep.
. That God would love a Worm I knew, and punish the evil foot
. That wilful bruis'd its helpless form; but that he cherish'd it
. With milk and oil I never knew, and therefore did I weep;
. And I complain'd in the mild air, because I fade away,
. And lay me down in thy cold bed, and leave my shining lot.'
. 'Queen of the vales,' the matron Clay answer'd, 'I heard thy sighs,
. And all thy moans flew o'er my roof, but I have call'd them down.
. Wilt thou, O Queen, enter my house? 'Tis given thee to enter
. And to return: fear nothing, enter with thy virgin feet.'
IV
. The eternal gates' terrific porter lifted the northern bar:
. Thel enter'd in and saw the secrets of the land unknown.
. She saw the couches of the dead, and where the fibrous roots
. Of every heart on earth infixes deep its restless twists:
. A land of sorrows and of tears where never smile was seen.
. She wander'd in the land of clouds thro' valleys dark, list'ning
. Dolours and lamentations; waiting oft beside a dewy grave
. She stood in silence, list'ning to the voices of the ground,
. Till to her own grave plot she came, and there she sat down,
. And heard this voice of sorrow breathed from the hollow pit.
. 'Why cannot the Ear be closed to its own destruction?
. Or the glist'ning Eye to the poison of a smile?
. Why are Eyelids stor'd with arrows ready drawn,
. Where a thousand fighting men in ambush lie?
. Or an Eye of gifts and graces show'ring fruits and coined gold?
. Why a Tongue impress'd with honey from every wind?
. Why an Ear, a whirlpool fierce to draw creations in?
. Why a Nostril wide inhaling terror, trembling, and affright?
. Why a tender curb upon the youthful burning boy?
. Why a little curtain of flesh on the bed of our desire?'


. The Virgin started from her seat, and with a shriek
. Fled back unhinder'd till she came into the vales of Har.
493

The Birds

The Birds
He. Where thou dwellest, in what grove,
Tell me Fair One, tell me Love;
Where thou thy charming nest dost build,
O thou pride of every field!
She. Yonder stands a lonely tree,
There I live and mourn for thee;
Morning drinks my silent tear,
And evening winds my sorrow bear.
He. O thou summer's harmony,
I have liv'd and mourn'd for thee;
Each day I mourn along the wood,
And night hath heard my sorrows loud.
She. Dost thou truly long for me?
And am I thus sweet to thee?
Sorrow now is at an end,
O my Lover and my Friend!
He. Come, on wings of joy we'll fly
To where my bower hangs on high;
Come, and make thy calm retreat
Among green leaves and blossoms sweet.
499

The Angel

The Angel
I dreamt a dream! What can it mean?
And that I was a maiden Queen
Guarded by an Angel mild:
Witless woe was ne'er beguiled!
And I wept both night and day,
And he wiped my tears away;
And I wept both day and night,
And hid from him my heart's delight.
So he took his wings, and fled;
Then the morn blushed rosy red.
I dried my tears, and armed my fears
With ten-thousand shields and spears.
Soon my Angel came again;
I was armed, he came in vain;
For the time of youth was fled,
And grey hairs were on my head.
520

Songs Of Innocence: Introduction

Songs Of Innocence: Introduction
Piping down the valleys wild
Piping songs of pleasant glee
On a cloud I saw a child.
And he laughing said to me.
Pipe a song about a Lamb:
So I piped with merry chear,
Piper, pipe that song again--
So I piped, he wept to hear.
Drop thy pipe thy happy pipe
Sing thy songs of happy chear,
So I sung the same again
While he wept with joy to hear
Piper sit thee down and write
In a book that all may read--
So he vanished from my sight
And I pluck'd a hollow reed.
And I made a rural pen,
And I stained the water clear,
And I wrote my happy songs,
Every child may joy to hear.
423

Sleep! Sleep! Beauty Bright

Sleep! Sleep! Beauty Bright
Sleep! sleep! beauty bright,
Dreaming o'er the joys of night;
Sleep! sleep! in thy sleep
Little sorrows sit and weep.
Sweet Babe, in thy face
Soft desires I can trace,
Secret joys and secret smiles,
Little pretty infant wiles.
As thy softest limbs I feel,
Smiles as of the morning steal
O'er thy cheek, and o'er thy breast
Where thy little heart does rest.
O! the cunning wiles that creep
In thy little heart asleep.
When thy little heart does wake
Then the dreadful lightnings break,
From thy cheek and from thy eye,
O'er the youthful harvests nigh.
Infant wiles and infant smiles
Heaven and Earth of peace beguiles.
488

Song: Memory, hither come

Song: Memory, hither come
Memory, hither come,
And tune your merry notes;
And, while upon the wind
Your music floats,
I'll pore upon the stream
Where sighing lovers dream,
And fish for fancies as they pass
Within the watery glass.
I'll drink of the clear stream,
And hear the linnet's song;
And there I'll lie and dream
The day along:
And, when night comes, I'll go
To places fit for woe,
Walking along the darken'd valley
With silent Melancholy.
341

Sick Rose, The

Sick Rose, The
O Rose, thou art sick!
The invisible worm
That flies in the night,
In the howling storm,
Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.
376

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Identification and basic context

William Blake was an English poet, painter, and printmaker. He is widely regarded as a visionary artist and a key figure in the Romantic movement, though his work often defied conventional categorization and is characterized by its unique spiritual and philosophical depth. Blake's primary language of expression was English. His imaginative and often mystical worldview set him apart from many of his contemporaries. He is best known for his illuminated books, which combine his poetry with his own intricate illustrations.

Childhood and education

Born in London, Blake came from a modest background. His father was a hosier. He received little formal schooling, attending only a dame school. However, he was a voracious reader and possessed a remarkable natural talent for drawing and poetry from a young age. His parents recognized his artistic abilities and apprenticed him to an engraver at the age of ten. This apprenticeship provided him with crucial technical skills and exposed him to various artistic styles and historical prints, which would later inform his own work. His early education was thus largely practical and self-directed, fueled by an innate creative drive.

Literary trajectory

Blake began his literary career by writing poetry, including early works that would later be revised and published in collections like "Poetical Sketches" (1783). His true innovation came with the development of his "illuminated printing" technique, where he combined his poetry and illustrations into single plates, printed and colored by hand. This led to the creation of his prophetic books, beginning with "Songs of Innocence" (1789) and "Songs of Experience" (1794), which explore complex theological and philosophical ideas through allegorical poetry and vivid imagery. His literary trajectory was marked by a consistent development of his personal mythology and a relentless pursuit of spiritual and artistic expression, often in defiance of contemporary literary and artistic conventions.

Works, style, and literary characteristics

Blake's most famous works include "Songs of Innocence and of Experience," "The Marriage of Heaven and Hell," "Jerusalem," and "Milton." His dominant themes often revolve around the dualities of human existence: innocence and experience, good and evil, heaven and hell, reason and imagination, freedom and oppression. He developed a complex personal mythology populated by symbolic figures like Urizen (reason), Los (imagination), and Enitharmon (spirituality). His style is characterized by its visionary intensity, rich symbolism, and often paradoxical pronouncements. Blake employed a variety of forms, from lyrical songs to epic prophecies, often utilizing rhythmic structures and vivid, dreamlike imagery. His language can be both deceptively simple and profoundly complex, challenging conventional interpretations of morality and spirituality.

Cultural and historical context

Blake lived during a period of significant social and political upheaval in Britain, including the American and French Revolutions, which deeply influenced his thinking on liberty, tyranny, and social justice. He was part of a generation of artists and writers associated with Romanticism, which emphasized emotion, individualism, and the sublime in nature, though Blake's vision was often more overtly spiritual and prophetic. He was deeply critical of the established church, state, and industrialization, viewing them as forces that stifled human imagination and spiritual freedom. His radical religious and political views often led to his isolation from mainstream artistic and literary circles.

Personal life

Blake's personal life was marked by his deep devotion to his wife, Catherine Boucher, whom he taught to read and write and who became his artistic collaborator. They lived a relatively simple life, often facing financial hardship. Blake's intense inner world and visionary experiences sometimes led others to perceive him as eccentric or even insane, though he maintained a consistent creative output. His spiritual beliefs were central to his life and work, forming the basis of his unique cosmology.

Recognition and reception

During his lifetime, Blake was largely unrecognized for his poetic genius and was primarily known as a talented engraver. His visionary works were often misunderstood or dismissed by critics and the public. It was only in the 20th century, with the rise of modernist and postmodernist thought, that his work began to be re-evaluated and appreciated for its originality, depth, and prophetic power. Today, he is considered one of Britain's greatest poets and artists, with his work studied extensively in literature and art history.

Influences and legacy

Blake was influenced by the Bible, Milton, Shakespeare, and various mystical traditions. His radical ideas and unique artistic vision, in turn, influenced numerous artists, writers, and thinkers, including the Pre-Raphaelites, the Symbolists, and later figures in literature and art who embraced his emphasis on imagination and spiritual truth. His critique of industrial society and his celebration of individual vision continue to resonate. His inclusion in the literary and artistic canon is now firmly established, and his works are widely translated and studied internationally.

Interpretation and critical analysis

Blake's work is rich with layers of symbolic meaning, inviting diverse interpretations. Critics often analyze his complex mythology, his critique of established religious and political institutions, and his exploration of the human psyche. Debates frequently arise concerning the precise nature of his spiritual beliefs and the extent to which his visions should be understood literally or metaphorically. His exploration of the "contraries" of life remains a central theme for critical inquiry.

Curiosities and lesser-known aspects

Blake claimed to have seen visions from childhood, including seeing angels in a tree. He developed a unique method of printing his books, which he called "illuminated printing," involving etching both text and image onto copper plates. He was a vocal critic of the rationalism and materialism of his age. His personal notebooks contain numerous aphorisms and observations that reveal his independent and often provocative thinking.

Death and memory

William Blake died in relative obscurity in 1827. His memory was kept alive by a small circle of admirers, but his widespread recognition as a major artistic and literary figure only emerged much later. Posthumous publications and exhibitions have cemented his legacy as a unique and profoundly influential visionary artist and poet.