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William BlakeA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
All of the symbolic creatures that speak with Thel discuss the expansiveness of God’s love. This lesson for the shepherdess is a theme of the poem. Blake’s Biblical allusions throughout the poem characterize this benevolent God as Christian. Lilly refers to the deity as “he that smiles on all” (Line 19). Thel learns that God takes time to tell this “humble grass” to “Rejoice” (21). For Blake, God’s favor is not reserved for the wealthy or even the human. God wants “all” (Line 19) creatures to experience joy, but especially the humble or meager creatures, which are considered more innocent.
Furthermore, The Clod of Clay refers to God as “he that loves the lowly” (Line 87). This alludes to the nature of the Biblical God; in Psalm 138:6, “For though the Lord is high, he regards the lowly.” Blake’s creature, the dirty matter of the earth, and the Worm are very lowly, yet receive blessings of “milk and oil” (Line 99). Here, Thel realizes that God’s love is not simply protection of all life, but also a level of intimate care and benediction.
While Thel remains fearful of death, or at least the voice in her grave, at the end of the poem, the creatures she speaks to emphasize how death is a method for connecting lives and continuing the cycles of life. The Cloud says, “Every thing that lives / Lives not alone, nor for itself” (Lines 69-70). He explains that clouds live for others by dying and becoming one with dew, which feeds the flowers. The larger lesson for Thel is that death is a natural part of life. The Clod of Clay echoes Cloud’s lesson. She says, “we live not for ourselves” (Line 84). Even if one only becomes food for worms, as Thel fears, one has a role to play—a role that primarily benefits (feeds) someone (or something) else.
The two symbolic creatures respond to Thel’s human preoccupation with her individual “use” (Line 65) with lessons about communal and cyclical benefits. Thel’s concerns are not only about her use, or role, in life, but she also fears not leaving anything behind after she dies. She repeats “because I fade away” in Lines 64 and 98; “fad[ing]” refers to memory as well as physical appearance. Thel’s complaint is that people will not remember her if she is only worm food, if she leaves nothing living behind. Unlike the lesson about God’s love, Thel does not take the creatures’ lesson about interconnectedness to heart because her fear of death is related to her fear of the loss of innocence.
Throughout The Book of Thel, the titular character is referred to as a virgin; this is her primary characteristic. The narrator and Cloud refer to her as such (Lines 44 and 50). The Clod of Clay bids her to enter the underground land of the dead with her “virgin feet” (Line 103). Once by her grave plot in this land, Thel hears a mysterious voice ask about her virginity: “Why a little curtain of flesh on the bed of our desire” (Line 123) refers to her hymen. Virginity means that Thel’s looks will “fade” (Lines 64, 98) with her; if she became a mother, she could pass on those looks to another.
However, Thel is terrified of losing her virginity. This loss of innocence means aging, and Thel expresses concern about the temporary nature of childhood. At the beginning of the poem, she asks, “Why fade these children of the spring?” (Line 7). Spring is associated with youth, and Thel identifies with these children, repeating the word fade when questioning her own fate. She does not want to progress to another season of life, one that includes sex. At the end of the poem, when Thel runs in fear from the mysterious voice’s questions about her sexual flesh, she is referred to as a “Virgin” (Line 124) once more by the narrator. This emphasizes how Thel is unwilling to change, regardless of the advice of her symbolic teachers.
By William Blake