It is but too probable that the piece called Broken Love has a recondite bearing on the bewilderments of Blake's special mythology. But besides a soul suffering in such limbo, this poem has a recognisable body penetrated with human passion. From this point of view, never, perhaps, have the agony and perversity of sundered affection been more powerfully (however singularly) expressed than here.
The speaker is one whose soul has been intensified by pain to be his only world, among the scenes, figures, and events of which he moves as in a new state of being. The emotions have been quickened and isolated by conflicting torment, till each is a separate companion. There is his 'spectre,' the jealous pride which scents in the snow the footsteps of the beloved rejected woman, but is a wild beast to guard his way from reaching her; his 'emanation' which silently weeps within him, for has not he also sinned? So they wander together in 'a fathomless and boundless deep,' the morn full of tempests and the night of tears. Let her weep, he says, not for his sins only, but for her own; nay, he will cast his sins upon her shoulders too; they shall be more and more till she come to him again. Also this woe of his can array itself in stately imagery. He can count separately how many of his soul's affections the knife she stabbed it with has slain, how many yet mourn over the tombs which he has built for these: he can tell, too, of some that still watch around his bed, bright sometimes with ecstatic passion of melancholy and crowning his mournful head with vine. All these living forgive her transgressions: when will she look upon them, that the dead may live again? Has she not pity to give for pardon? nay, does he not need her pardon too? He cannot seek her, but oh! if she would return! Surely her place is ready for her, and bread and wine of forgiveness of sins.
The Crystal Cabinet and the Mental Traveller belong to a truly mystical order of poetry. The former is a lovely piece of lyrical writing, but certainly has not the clearness of crystal. Yet the meaning of such among Blake's compositions, as this is, may sometimes be missed chiefly through seeking for a sense more recondite than was really meant. A rather intricate interpretation was attempted here in the first edition of these Selections. Mr. W. M. Rossetti has probably since found the true one in his simple sentence: "This poem seems to me to represent, under a very ideal form, the phenomena of gestation and birth" (see the Aldine edition of Blake's Poems, page 174). The singular stanza commencing "Another England there I saw," &c., may thus be taken to indicate quaintly that the undeveloped
