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Additional info for Blake’s Prophetic Psychology
The multitude of lambs is transformed into the angry multitude hinted at by the earlier syntax: a mighty multitude rage furious Rend limb from limb the Warrior & the tyrant ... 23 The 'mighty wind' of the children's voices has become the 'furious wind' rending oppressors. Blake's capacity and predilection later to transform the early images is adumbrated by the initial ambiguous comparison of the children's peaceful song to a strong wind and mighty thunder. Moreover, these images not only suggest the power of rage under the cloak of innocence but also recall Blake's earlier aggressive excretory images, most particularly Gass's bog-wind.
Blake does not concentrate on only one stage of development, however, but moves between them describing similar tendencies in the language of earlier or later stages of development: the sadism expressed in images of surgical cutting is related to the earlier anger of the biting infant as well as to later homosexual desires to penetrate another man. Early in Island, Blake's depiction of peer-rivalry leads him to recall or evoke deprivation at the breast as a source of anger and envy. The act of writing in this context appears as a belated attempt to do in one's rivals: satire is the literary surrogate for attacking with dirt or faeces.
The illustration's still later development into an engraving about the Last Judgement is important because it not only clarifies aspects of the Oedipal fantasy (through reversal and projection) that were only implicit in the early versions, but also shows the continuity of Blake's struggle with guilt and the characteristic defences employed in his work. Three versions of this illustration are reproduced in Illus. 4a, band c. Blake's pencil drawing (Illus. 4b), dated 1790, still has the configuration of Tiriel plate VI (Illus.