purport of this poem: a prophecy as literally as any other of Blake's, being professedly an inspired exposition of material things; for none of course pretend to be prophecies in the inaccurate and vulgar sense of prediction. It is full of small sweet details, bright and soft as summer grass, regular to monotony in its cadence until the last division, where the tone suddenly strengthens and deepens. There and not for the last time the strong imagination of Blake wrestles with the great questions of physical life, constraining the mute rebellious flesh as in a fervent and strenuous grasp of spirit, if perchance it will yield up the heart of its mystery. Throughout the book his extreme and feminine tenderness of faith speaks more softly and shows a simpler face than elsewhere. One might almost say that Thel had overmuch of this gracious and delicate beauty; that the intense faith and compassion which thus animate all matter give a touch of almost dubious and effeminate sweetness to the thought and style. Not however justly; for there is a firm body of significance in the poem, and the soft light leaves in which the fruit lies wrapped are solid as well as sweet.
It is well worth while to compare any average copy of Thel with the smaller volume of designs now in the British Museum, which reproduces among others the main illustrations of this book. The clear, sweet, pallid colour of the fainter version will then serve to throw into full effect the splendour of the more finished work. Especially in the separate copy of the frontispiece, the sovereignty of colour and glorious grace of workmanship double and treble its original beauty; give new light and new charm to the fervent heaven, to the bowing figure of
