If we are forced to admit that in the prophecies Blake's power in the art of poetry was declining, we shall have, on the other hand, the satisfaction of seeing his art as draughtsman and colourist waxing in grandeur, freedom and nobility. More than ever in Blake's strangely sensitive pictorial temperament we find--to quote Pater's subtle phrase--that "all things whatever, all poetry, all ideas, however abstract or obscure, float up as visible scene or image." To many of his lovers, the "Prophetic Books" are among his most precious gifts to us, not for their intrinsic poetic value (which will be estimated in divers manners by divers persons), but as being the vehicle of his finest art. The first one we take up is the "Vision of the Daughters of Albion." (The daughters of Albion, by the way, have little enough to do with the poem, their office being merely like that of a Greek chorus, to hear the woes of the heroine Oothoon and echo back her cries.) I am here referring to the one in the Print Room, though the Library possesses an almost equally beautiful copy. The book consists of eleven quarto pages, and appeared in 1793, just five years later than "Thel," to whose mysterious and delicate beauty it has a shadowy relationship. The thread of poetic suggestion running through it like a streak of sunlight is not so easy of following as the broad golden ray of "Thel." We are met at the very entrance by dim, unreal forms, with strange names--Oothoon, the shadowy female around whom the story centres, Theotormon, her jealous lover, and Bromion, a looming phantasmal personage, not definite enough to be terrible, though he is the evil genius of the piece. So now we are at last introduced to some of the personages of Blake's curious mythology. The argument--a page of the most delicate and energetic design, representing a radiant young woman "plucking Leutha's flower," which, in the form of a man, leaps from the blossom to her lips--contains in its two initial verses the clue to all the ensuing legend. Oothoon is, according to Mr. Swinburne, the spirit of the great western world, "born for freedom and rebellion, but half a slave and half a harlot." Leutha is the spirit of sensual impulse and indulgence. Theotormon, to whom Oothoon wings her way across the seas, is the strong, enslaved, convention-bound spirit of Europe. On her way, Oothoon is ravished by Bromion, who appears to be merely brute strength personified, and the jealous and revengeful Theotormon binds them back to back in a cave by the sea, and sits down in utter wretchedness near by. All the rest of the piece is occupied by the mournful wailing of Oothoon, who desires to justify herself, and the sad answers of Theotormon, which make a disquieting music like the wind among pine-trees.