Blake’s Rhetoric in the Ascension Of Oothonian Meditation

Few poets of the highest class have chosen to exhibit the beauty of their conceptions in its naked truth and splendour; and it is doubtful whether the alloy of costume, habit, &c., be not necessary to temper this planetary music for mortal ears.

-Shelley, A Defence of Poetry

William Blake has been described as a mystic, whose works are both eclectic and syncretic. Blake, an inspiration to Shelley and others, according to Sanders’ Short Oxford History of English Literature (SOHEL), gathered from such “literary sources and inspiration from the Bible and the Bible-derived epic structures of Dante and Milton” (352) in order to perform his Blake-like rhetoric. Moreover, it is Blake’s view on the world and creation of other worlds that allows for such inspiration to flourish. For example, “Blake sees Heaven as forming part of a framework which must emerge with the creative energy of Hell rather than stand in opposition to it” (353).

Blake’s non-traditional and unconventional rhetoric stretches the boundary line regarding sexuality and to a lesser extent morality. In his Visions of the Daughters of Albion, Blake presents a raped woman in a man’s world. This world views women as property. Blake’s heroine must rethink her position and combat against the masculine idea that once raped, the woman is no longer of much worth. In this world a body violated, yields a tensioned mind, wherein the label of harlot ensues. Oothon fights this idea and presents with her fight a new motive to exist utilizing the separation of the body from the mind. This rethinking of Oothon, because of her rape experience, matures her into a more refined, stronger character. As one author noted, Oothon’s experience displays a “violence,” which “has revealed her inner purity and implicitly rejects conventional notions about how rape defiles the victim” (227).

If in conjunction with this radical idea of inner purity, revelation exists in the implication that “thinking sex beyond morality,” and that this thinking is suggestively possible; then, within the scope of this essay, an answer to such an implication regarding the role of sexuality, existing within a moral setting, can be analyzed and addressed. Again, are the world that Blake creates moral and its creatures responsible to such an existing code of behavior? Oothon in her determination to exist outside of conventional, moral views held by a masculine world will attempt to justify her sweeping notion that though she “trembled in…virgin fears / And hid” (Plate iii: 3-4) she clearly is a more exposed and possibly advanced individual regarding the thoughts of sex after so brutal an act as rape. Thereby, in responding to her own condition, she obstinately believes she holds value and can worthily command to all, “Arise and drink your bliss, for every thing that lives is holy!” (Plate 8:10).

The introduction and description of the rape brings to mind a painful reminder of the act itself. Oothon opens Visions with a description of “the terrible thunders” which “tore” her “virgin mantle in twain” (Plate iii: 7-8). The terrible thunders are a great description of power and noise that attempt to both prophesy and fulfill the rape to come by the villain Bromion. Moreover, Blake prepares the rape victim, as possessing “the soft soul of America, Oothon” (Plate 1:3). Blake creatively names Bromion, which means ‘roarer’ or ‘thunderer’ in Greek as the rapist. Additionally, this description, at full-tilt, is described as “Bromion rent her with his thunders. On his stormy bed/ Lay the faint maid, and soon her woes apalld his thunders hoarse” (Plate 1: 16-17). Clearly, the position of Bromion is one of rapist, but also one of conqueror.

As conqueror Bromion proudly stamps himself upon his conquests. The first words from Bromion, over the “woes” of Oothon, are “Behold this harlot here on Bromion’s bed” (Plate 1:18) and again toward Theotormon, “Now thou maist marry Bromion’s harlot, and protect the child/ Of Bromion’s rage” (Plate 2: 1-2). Alongside the description of rapist, Bromion suggestively exists as a powerful representation of a territorial marker. Blake to continue the metaphor of Bromion’s presence continues to mention his thunders and storms, particularly as Bromion addresses Theotormon. Blake, as a narrator-type, notes, “Then the storms rent Theotormon’s limbs;” (Plate 2:3). Theotormon’s response betrays his resolve as he “sits wearing the threshold hard / With secret tears” (Plate 2:6-7).

Blake presents the act of rape and the response by both men, but in analyzing both masculine roles, notable interest in the victim resurfaces and realignment upon Oothon, yields anything but a true, raped victim. Oothon’s response is troubling for it is counter-conventional. The narrator simply states “Oothon weeps not: she cannot weep! Her tears are locked up;” (Plate 2:11). Oothon’s repression leads to two main conjectures.

First, as a raped victim she represses her pain and quickly looks to realign her position. She cries, “I call with holy voice!” (Plate 2:14). Clearly, the verbal choice of “holy” can steer the reader into two sub-conjectures as to Oothon’s motivation for the term’s use. One, she is in denial and attempting to rise above her condition. Two, she acknowledges her condition and seeks to live outside of it, thereby rebelling against conventional, masculine norms. The latter absolves the former in support of the first conjecture.

Second, Oothon, in not weeping, still considers herself pure and therefore exists outside the world Theotormon and Bromion would have her reside in. The world of the marked and labeled victim. Oothon acknowledges her pain and though her tears are locked up “she can howl incessant, writhing her soft snowy limbs / And calling Theotormon’s Eagle’s to prey upon her flesh” (Plate 2: 12-13). This blatant disregard for her body suggests she finds value elsewhere. Recall, that Oothon believes it is her body that has been violated, not her true, inner person which bears the image of Theotormon. In calling out with a “holy voice” she cries out to justify her existence and purity in spite of Bromion’s conquest and Theotormon’s inability to understand Oothon’s attempts to remain valuable in lieu of bodily violation (as will be noted hereafter).

The idea of purity arising from within rather than existing from without challenges the masculine notion that a raped and broken maidenhead reflects a frail and equally broken person.
Oothon, of course opposes this notion vehemently. Bromion seems to have acted out of motives that proved desultory and angry, rather than motivated acts of lust and base horniness. Oothon then cries out to her only hope for understanding of her situation. She cries, “Rend away this defiled bosom that I may reflect / The image of Theotormon on my pure transparent breast” (Plate 2: 15-16). This declaration by Oothon begins her ascent toward liberation from the conventional view regarding the state of the fallen or ruined, which results after Bromion’s encounter.

The bosom is made of flesh and has been violated, therefore proving to be defiled. This defilement of the flesh proves to hold no more merit than mere exterior casement protecting what Oothon considers to be purity underneath. Clearly then Oothon’s plea resonates with justification that her heart, a tangible inner purity organ, and her love for Theotormon, an intangible feeling existing within her “pure transparent breast” (Plate 2:16) are higher and more valuable images regarding her person.

Later, where Theotormon cannot rise above the physical act of Oothon’s rape, he attempts a thinking discourse involving himself, Bromion, and Oothon. However, it is Oothon that has decided to move on and declares pleadingly for Theotormon to do the same as she cries, “My Theotormon, I am pure” (Plate 2:28). This purity is what then leads Oothon to think outside of her masculine ideal of falleness and spoil, thereby creating a different response to her present world.

Out of the physical act of rape Oothon creates a world where she is still viable and holy. She begins to express ideas of sexuality rising above Urizen’s world, including thinking beyond Urizen-like moral codes. Those that inhabit Urizen’s world never leave it unless they utilize the medium of thought, which Oothon suggests breeds holy change and justifies true existence. Oothon has gained a new insight on life and existence, and begins to act upon those ideas that will propel her there amidst accusations to those who do not wish it. Boldly, she declares, “They told me that night & day were all that I could see; / They told me that I had five senses to inclose me up.” (Plate 2:30-31). She concludes her accusations at regarding limited thinking with a question aimed at Theotormon (and possibly toward Blake’s readership also). Oothon mentions, “How can I be defiled when I reflect thy image pure?” (Plate 3:16). Theotormon cannot raise himself beyond the physical realm and when he attempts to think himself beyond the rape he cannot. Therefore he has no answer for Oothon.

Moreover, Theotormon falls short and questions the viability of thought, suggesting perhaps that he has no confidence in the act of thinking and reflexively, no faith in Oothon herself. Theotormon begins with:

Tell me what is the night or day to one o’erflowed with woe?
Tell me what is a thought? & of what substance is it made?
Tell me what is a joy? & in what gardens do joys grow?
And in what rivers swim the sorrows? And upon what mountains
Wave shadows of discontent? And in what houses dwell the
Wretched
Drunken with woe forgotten and shut up from cold despair? (Plate 3:22-25; 4:1-2)

Such a line of questioning again finds its pin point motive in the main question-“Tell me what is a thought?” Theotormon’s inability to answer his own questions reflects the absence of his sagacity, and ultimately his unbelief of rising above Urizen’s moral code.

Clearly then, he must exist within the framework of Urizen’s code, because Bromion does. The code states when raped, the woman is then nothing more than useless property and little more than whore. This tormenting code hinders Theotormon’s ascent toward, what Blake may be insinuating is the Enlightened thinker. It seems then that Bromion is closer than Theotormon in getting to this Enlightenment thinking, but it is Oothon that arrives there for sure.
Theotormon whose name implies the torment of God in the Greek lives up to his eponymous disposition. He cannot rise above the rape of Oothon and therefore is dismantled from existing in a peaceful manner. In contrast, Bromion perhaps exists in the gap between Theotormon and Oothon. His descriptions of an unseen world raise possibilities, yet he does not fulfill what they may be, leaving his hearers in derision. Bromion hopelessly comments, “Thou knowest that the ancient trees seen by thine eyes have fruit; / But knowest thou that trees and fruits flourish upon the earth / To gratify senses unknown?” (Plate 4:13-15).

Arguably, the answer for Theotormon may prove to be a resounding “No!” and for Oothon it may exist as an even deeper “Yes!” This is what she has been accusing against and championing for since Plate 2! To her these senses exist in the power of thought. Thereby, creating a world within a world. It is this new creation that allows Oothon to raise herself beyond the present rules and moral codes existing in the world of Urizen.

Blake’s characters are centered on his creative mental powers that form a new beginning within his existing, present world. Aesthetically then “the multiplicity of echoes enriches his poetry and gives it the semblance of antiquity even greater than the earliest Hebrew, Greek, and Celtic texts, as though Blake was attempting to recreate the original culture from which all others had descended.” What Blake seemingly creates is paralleled in the mental maturation of Oothon, and to a lesser extent in the hinted “unseen” of Bromion.

Consequently, Theotormon is the only person unable to understand or comprehend even the thought of “thinking” outside the conventional box. In this case the box is the world of Urizen, which Oothon defiantly mentions as a creation from the “mistaken Demon of heaven” (Plate 4:3). Still, only Oothon gets it and moves beyond Urizen’s realm.

If Oothon and Bromion seem to be the closest mentally and this closeness parallels their previous sexual union, then perhaps Theotormon, who has not had the pleasure of Oothon’s body, will never be able to understand Oothon nor her radical thoughts on inner purity. Furthermore, can such a disparity reveal Oothon’s re-creation of sexuality and morality? Possibly. If by definition morality can be applied to that person who must abide by a certain set of codes of conduct that have been labeled against a standard, and that standard exists as a property of goodness, which then in Blake’s poem fits this classification profile?

In establishing Oothon as a thinker outside of conventional ruin the remainder of the analysis inevitably points toward both Bromion, the rapist, and Theotormon, the affected.

Bromion is proud of his rape-act because he has stamped his signet with the seamen of his anger upon Oothon. Recall, that it was Bromion who had to justify his action by underscoring Oothon’s value. He states, “Behold this harlot here on Bomion’s bed” (Plate 1:18). Why harlot? Why not call her woman? Bromion is valuing himself and devaluing Oothon by placing himself as conqueror. Earlier in this essay this point was alluded to. The motive? In a phrase, “Bromion’s rage.” (Plate 2:2). There exists no proof for lust as a motive, and arguably control is the power expressed though not entirely obtained. Why? This level of power is limited to those existing within the realm of Urizen. Therefore, Oothon, by projecting her thinking outside of sexual moral codes found within the Urizenian realm, she abides elsewhere. She then is freer than either Bromion, the marker, or Theotormon, her weak-minded beau.

Furthermore, the reader notices a Theotormon who is less manly as he is described as “wearing the threshold hard” (Plate 2:6) amidst his “secret tears” (Plate 2:7). Theotormon knows that what Bromion has done is at one level thievery and at another level flexed power. Both abide in the ruse of immorality.

Threotormon senses his world already torn apart because Bromion has impregnated his fiancé. Even if he could get over the rape, “the child/ Of Bromion’s rage,” will still be born “in nine moons’ time” (Plate 2:1-2). The child then will represent Bromion’s act over and over again to the mind of Theotormon. He cannot escape his world and its labels. This is something that Theotormon is not willing to do, and as such Oothon, looking for comfort from her beau, cannot find it in the realm of Urizen. Again, Oothon seeks this comfort in the cloudy heights of thought above. Likewise, this thought rises outside and above Urizen’s moral, earthly code and everything attached to it, like sex. Therefore, Oothon is willing to try the voyage every day she lives with her wombish reminder.

Final thoughts about Oothon’s attempt to rise beyond the moral code of sexuality on the wings and speed of thought include her speeches of defiance. It is these speeches that culminate with Oothon’s greatest words as she states, “Arise you little glancing wings, and sing your infant joy! / Arise and drink your bliss, for every thing that lives is holy!” (Plate 8:9-10). Oothon in declaring her purity angelically, though defiantly, remarks that, “Oothon is not so; a virgin fill’d with fancies / Open to joy and to delight where ever beauty appears.” (Plate 6:21-22). In doing so she takes up the stamping and third-person rhetoric that Bromion wielded earlier in the poem. This again alludes to her ascension and re-creation of her person. Does she then cease from the masculine and enter into the masculine? Possibly, though the more insightful claim is still Oothon’s attempt to rise above her condition.

Oothon is willing to look into the natural things in order to discover the realms and worlds that Bromion can only hint at and Theotormon cannot possibly believe. In the end, it is Oothon who is remembered, as from her beginning, as existing in the living that “everything that lives is holy!” She included.