The Book of Thel

The Book of Thel was written and etched by William Blake in 1789. It is one of his prophetic illuminated books, crafted after Songs of Innocence but before The Marriage of Heaven and Hell. Blake’s recognition as an influential figure in the British Romantic literary movement only came after his death. The Book of Thel is a narrative, allegorical, and symbolic poem written in 14-syllable lines. Its themes include the expansiveness of God’s love, interconnectedness through death, and fearing the loss of innocence.

Poet Biography

William Blake was born in 1757 in London. From a young age, he had “visions” of angels and exhibited artistic talent. After attending drawing school, Blake became an apprentice to engraver James Basire for seven years. In 1779, Blake worked as a journeyman copy engraver for various publishers. He simultaneously studied painting at The Royal Academy of Art. Blake married Catherine Boucher in 1782.

In 1788, Blake invented relief etching and used this technique in his illuminated books. While creating his own books and manuscripts, Blake continued to commercially engrave illustrations for book publishers; he had a hand in engraving texts by Mary Wollstonecraft and John Gabriel Stedman. In the 1790s, Blake created separate plates and color-printed drawings in addition to his illuminated books.

At the turn of the century, Blake moved from London to Sussex, near his patron William Hayley. Blake moved back to London in 1803, and worked on a number of commissions, including illustrating John Milton’s poetry, as well as projects of his own design. He eventually fell ill, but worked almost until the day he died in August 1827.

Poem Text

Illuminated book: Blake, William. The Book of Thel. 1789. The Morgan Library and Museum.

Text-only version: Blake, William. "The Book of Thel." 1789. The Poetry Foundation.

Summary

The Book of Thel is a narrative, prophetic poem that uses 14-syllable lines in four sections marked with Roman numerals. The titular character, Thel, converses with several symbolic creatures and a voice at her own grave. Blake’s lines are generally unrhymed, except for the four-line preface (Thel’s Motto).

Thel’s Motto prefaces the poem by asking which animal, an eagle or a mole, the second-person reader will interrogate. Also, Thel questions how to contain the qualities of wisdom and love.

In the first section, Thel separates from her fellow shepherdesses and goes to the river. There, she questions the temporary nature of seasons, children, emotions, and music. Thel connects transience to death. A symbolic lily of the valley replies, explaining that even though it is insignificant, God blesses it, so Thel should rejoice.

Thel responds by listing the virtues of the lily—how it positively contributes to the lives of the lamb, cow, and steed with its scent. She contrasts herself with the lily, comparing herself to a cloud: dying without recognition. The lily then suggests Thel talk to a cloud.

In the second section, Thel asks the cloud how it endures being impermanent. The cloud explains that it is born from love and its death is beautiful. When it descends, the cloud will sexually and romantically join with dew and they will feed the flowers.

Thel responds with a lament about her feelings of uselessness. Unlike the lily and cloud, she does not feed flowers or birds. She has stopped enjoying the pleasures of these flora and fauna because she fears her only use will be feeding worms when she dies. The cloud says that feeding worms is a necessary and important role; it emphasizes the interconnectedness of all life. Then, it asks a worm to come to Thel.

In the third section, the worm sits on the lily’s leaf. Thel exclaims over it, comparing its wordless crying to a baby. A clod of clay joins them and tells Thel that even though it is the most insignificant of the beings encountered, it is still loved by the divine. Thel expresses surprise that God not only loves but also tenderly cares for the lowly creatures. She then asks to be taken to the clay’s home. The clod of clay welcomes her.

In the final section, Thel sees the secret underground place where the dead and roots intertwine. She wanders between burial plots and comes to her own grave. When Thel sits here, a voice asks questions about the perception of the sensory organs—eyes, ears, tongue, nose, and the skin. Thel screams and runs back to her vale.