Page:William Blake, a critical essay (Swinburne).djvu/278

 246 the two preludes the relations of the two kindred poems may be better understood: the one is plaintive as the voice of a world in pain, and decaying kingdom by kingdom; the other fierce and hopeful as the cry of a nation in travail, whose agony is not that of death, but rather that of birth.

The First Book of Urizen is perhaps more shapeless and chaotic at a first glimpse than any other of these prose poems. Clouds of blood, shadows of horror, worlds without form and void, rise and mingle and wane in indefinite ways, with no special purpose or appreciable result. The myth here is of an active but unprolific God, warring with shapes of the wilderness, and at variance with the eternals: beaten upon by Time, who figures always in all his various shapes and actions as the saviour and friend of man. "Earth was not, nor globes of attraction; the will of the Immortal expanded or contracted at will his all-flexible senses. Death was not; but eternal life sprang." (1. Urizen, ii. 1.) Urizen, the God of restraint, creator of prohibition, whose laws are forbearance and abstinence, is for ages divided from Eternity and at war with Time; "long periods in burning fires labouring, till hoary, and age-broken, and aged, in despair and the shadows of death." (1. Urizen, iii. 6.) In time the formless God takes form, creating and assuming feature by feature; bones, heart, eyes, ears, nostrils, throat with tongue, hands with feet; an age of agony being allotted to each of the seven created features; still toiling in fire and beset by snares, which the Time-Spirit kindles and weaves to avert and destroy in its birth the desolate influence of the Deity who forbids and restrains.