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By John Beer

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1 The pattern of ideas involved is 1 Since it may not be easy for a reader new to Blake’s mythology to keep the significance of the various figures in his mind, a brief summary of the patterns which dominated his myth-making is given for purposes of reference in Appendix One. The Energies of Desire 41 straightforward, but it involves a re-working of certain ideas which he had already used in earlier works and which must be briefly mentioned here. The Book of Thel had contained mention of a figure of lost love, an absent sun-god of vision, whom he named Luvah.

Further realignments of Milton’s universe followed. The world of Hell in which Satan is discovered in Book One became the world of the God of Reason. Satan really had no business in such a lifeless place and it was characteristic of his nature that as soon as he became himself again at the beginning of the poem he exercised his energies—first by building a palace and then by breaking out of Hell altogether. We glimpse here a Blakean paradigm—the serpent of energy which necessarily breaks out of the shell of Reason.

Since Theotormon insists on devoting himself to ideals of purity and holiness, she calls on him to act upon her, if only in the strength of his holiness. Her real need is that he should descend as the winged god of Love, but in her terror at his jealousy she visualizes his wings as those of eagles. She therefore calls upon him to descend and tear her flesh, that she may reflect the image of Theotormon on her ‘pure transparent breast’. As the Eagles do so, Theotormon smiles severely and she reflects the smile As the clear spring mudded with feet of beasts grows pure & smiles.

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