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Vala, or The Four Zoas by William Blake (composed circa 1796-1807)
This incomplete work exists as a manuscript that is key to understanding Blake’s mythology that seeps into almost all of his other work. In The Book of Thel, Blake mentions “Luvah” (Line 51), which is one of his Giant Forms, the Zoas. Luvah represents passion and sexuality, so it makes sense that Cloud, the most sexual of the creatures Thel talks to, invokes this Zoa. Vala also inspired later esoteric poets, such as W.B. Yeats.
The Odyssey by Homer (circa 800 B.C.E.)
Blake alludes to Homer’s passage about the Cave of the Nymphs in The Book of Thel. This allusion is key to some allegorical readings of the poem. Furthermore, reading Homer aids in understanding Greek myth and the process of myth-making that Blake also participates in throughout his artistic career.
The Faerie Queene, Book III by Edmund Spenser (1590)
The Book of Thel can be compared to The Faerie Queene by Edmund Spenser; the third book of this very long poem is an allegory about chastity. Britomartis (aka Britomart) represents virginity, like Blake’s Thel. Spenser had Queen Elizabeth in mind when composing his long allegorical poem, and Blake also refers to his virgin, Thel, as a “Queen” (Lines 38, 100, 102).
This is an excellent online resource for primary source material. The Archive has an extensive catalogue of Blake’s art, poetry, letters, and more. This website allows readers to view Blake’s work as he intended it to be seen—illustrated—rather than other sources that only include Blake’s text.
The King James Bible (1611)
While William Blake was vocal in his opposition to the contemporary Anglican Church, the King James Bible was the authoritative English vulgate (non-Latin) version available to him at the time. The Book of Thel thematically centers on a benevolent, loving Biblical God and includes many Biblical allusions. Some of Blake’s other engravings depict scenes from the Bible, and Biblical allusions abound in Blake’s other writings as well.
"On the Cave of the Nymphs in the Thirteenth Book of the Odyssey" by Porphyry (circa 305)
Porphyry’s philosophical text provides insight into the last section of the poem. Thel descends into The Clod of Clay’s house, an underground land of the dead, “sorrow” (Line 108), and “clouds” (Line 109). In this land, by her own grave, Thel hears a mysterious voice ask questions about the body and runs back to her home in the vales of Har. This can be read allegorically as a metaphysical journey, just as Porphyry offers a reading of Homer, who Blake alludes to in Part IV of The Book of Thel.
Classical composer Lucien Posman created this musical version of William Blake’s poem, performed here by Mireille Capelle and the Hermes ensemble with conductor Koen Kessels. Another performance, with different musicians, of Posman’s arrangement can be found on YouTube.
In 2012, Sam Stinson recorded this audio version of The Book of Thel for a popular audiobook channel on YouTube.
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By William Blake