page_title: Tiriel (poem)
section_title: Critical interpretations
hierarchical_section_title: Tiriel (poem) / Critical interpretations
caption_attribution_description: 'Tiriel Denouncing his Sons and Daughters' (Illustration from Tiriel)
context_page_description: Tiriel is a narrative poem by William Blake, written c.1789. Considered the first of his prophetic books, it is also the first poem in which Blake used free septenaries, which he would go on to use in much of his later verse. Tiriel was unpublished during Blake's lifetime and remained so until 1874, when it appeared in William Michael Rossetti's Poetical Works of William Blake. Although Blake did not engrave the poem, he did make twelve sepia drawings to accompany the rough and unfinished manuscript, although three of them are considered lost as they have not been traced since 1863.
context_section_description: Tiriel has provoked a number of divergent critical responses. For example, according to G.E. Bentley, "Tiriel has always proved a puzzle to commentators on Blake." Similarly, Kathleen Raine points out, "this phantasmagoria on the theme of the death of an aged king and tyrant-father may be – indeed, must be – read at several levels." Making much the same point, W.H. Stevenson argues that "the theme is not clearly related to any political, philosophical, religious or moral doctrine."
  Northrop Frye reads the poem symbolically, seeing it primarily as "a tragedy of reason," and arguing that "Tiriel is the puritanical iconoclasm and brutalised morality that marks the beginning of cultural decadence of which the lassitude of Deism is the next stage, and Ijim is introduced to show the mental affinity between Deism and savagery."
  A different reading is given by S. Foster Damon, who argues that it is "an analysis of the decay and failure of Materialism at the end of the Age of Reason." Similarly, arguing that Har represents Christianity and Heva is an Eve-figure, Damon believes the poem illustrates that "by the end of the Age of Reason, official religion had sunk into the imbecility of childhood."
  David V. Erdman looks at the poem from a political perspective, reading it in the light of the commencement of the French Revolution in July 1789, with the Storming of the Bastille. He believes the poem deals both with pre-revolutionary France and "unrevolutionary" England, where people were more concerned with the recently revealed madness of George III than with righting the wrongs of society, as Blake saw them; "in France the people in motion were compelling the King to relax his grasp on the spectre. In England, the royal grasp had suddenly failed but there seemed nothing for the people to do but wait and see [...] when the King's recovery was celebrated, a bit prematurely, in March 1789, "happiness" was again official. Popular movements did exist, but except for the almost subterranean strike of the London blacksmiths for a shorter workday, they were largely humanitarian or pious in orientation and in no immediate sense revolutionary." He also feels the poem deals with "the internal disintegration of despotism," and finds a political motive in Tiriel's final speech, which he sees as inspired by Jean-Jacques Rousseau's Emile, or On Education.
  Anne Kostelanetz Mellor also reads the poem as a political tract, although from a very different perspective than Erdman. She argues that the poem engages with "Blake's increasing uncertainty about both the social and the aesthetic implications of a closed form or system" and concludes with the edict that Tiriel's "repressive reign of deceit, slander, discontent and despair enslaves not only the ruled but the ruler as well [...] his closed mind, chained to closed palaces and legal systems ends by destroying both itself and everything over which it gains power. In this sense, she reads Tiriel's final speech as "reflecting the agony of a self trapped in the repressive social mores and intellectual absolutism of eighteenth century England."
  Harold Bloom, however, is not convinced of a political interpretation, arguing instead that "Tiriel's failure to learn until too late the limitations of his self-proclaimed holiness is as much a failure in a conception of divinity as it is of political authority."
  Another theory is suggested by Peter Ackroyd, who argues that the poem is "a fable of familial blindness and foolishness – fathers against sons, brother against brother, a family dispersed and alienated – which concludes with Blake's belief in the spiritual rather than the natural, man."
  Alicia Ostriker believes that the poem deals with "the failure of natural law."
  Perhaps the most common theory, however, is summarised by Nelson Hilton, who argues that it "suggests in part a commentary on the state of the arts in an age which could conceive of poetry as a golden structure built with "harmony of words, harmony of numbers" (John Dryden) [...] exchanging the present for the past, Tiriel views late eighte
caption: Tiriel Denouncing his Sons and Daughters (Fitzwilliam Museum); the illustrated text is "The cry was great in Tiriels palace his five daughters ran/And caught him by the garments weeping with cries of bitter woe/Aye now you feel the curse you cry. but may all ears be deaf/As Tiriels & all eyes as blind as Tiriels to your woes/May never stars shine on your roofs may never sun nor moon/Visit you but eternal fogs hover around your walls" (5:18-23).
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