Explore identity in the poetry of William Blake

...The Book of Thel, for example, is one of “the earliest of [Blake’s] prophetic works.” Here, Blake simultaneously engages with the reader for didactic effect, whilst questioning the process of “liv[ing], and act[ing]” by scrutinising the human psyche and existentialism. Marjorie Levinson describes how the creation of Thel’s character encourages her to be “seen to figure either as the true subject of the poem or as a “surrogate for the reader,” that is, a character who feels, thinks, and behaves as we might.” The poem feels, initially, almost like a dramatic monologue or narrative stream of conscience; certainly, throughout, the character of Thel remains at the centre of the plot and the rest of the action unfolds around her. However, it is important to recognise the use of simile to describe her character in the initial stages of the poem. Ronald Schleifer writes about Blake’s “fourfold vision”, which examines the four layers of meaning created by figurative language. Simile creates a twofold vision, whereas metaphor creates a threefold one; eventually, by tying these two concepts together one arrives at the fourfold vision which connects the content with a divine spiritual realm. Yet, despite these initial similes which suggest that this vision might be attained, ironically Thel is never able to achieve it. Her ongoing quest for purpose, meaning and place is clouded by her inability to situate herself within the spatial realms of the poem, which appear transient and somewhat intangible; “Ah! Thel is like a watry bow, and like a parting cloud, / Like a reflection in a glass, like shadows in the water, / Like dreams of infants…/ Like the dove's voice, like transient day, like music in the air.” The use of asyndeton here creates a series of snapshots, or fleeting moments; the similes create a sensation of “likeness” but never a feeling of concrete meaning or identity. The setting of the poem can be gleaned, but never entirely be located. As Levinson writes; “All Thel’s examples are of virtual realities, or effects. Unlike actual realities, the rainbow, shadow, music, reflection, and dream exist only by virtue of an active perceiver. Although they are composed of real physical materials, their identity as integral wholes comes into being only as they are perceived. Once the perceiver withdraws himself, the rainbow as rainbow dissolves.” Indeed, Blake’s psychological analysis of Thel seems to suggest that she herself becomes the setting; her own psyche becomes an integral element within the inhabited space. Arguably, this space becomes an embodiment of the state of innocence. The theory that Thel imposes herself upon the space is further supported by the implication that it is her own psyche that controls the course of narrative. For example: “‘did she only live to be at death the food of worms?’”…The helpless worm arose, and sat upon the Lily's leaf…” Here we find that Thel's own suppositions drive the developments in the plot. There are four moments in the poem where this occurs; Levinson writes that “what Thel gives to those who cannot crave is a voice. If Thel understood this - that is, if she were not deaf to er own voice except as it is echoes back to her from an external object - she would cease to complain. For in this fact lies the answer to her existential crisis: her ignorance regarding her origin, her effect, and her end.” Thel's inability to balance the two states of being - innocence and experience - she is unable to resolve her own problems and concerns.