Elsewhere we were discussing Blake’s Tyger, apropos of which I’d made the following comment:

The opening spondee in the last line—Dare frame thy fearful symmetry—makes the whole presentation forceful, which is particularly important when the “Tyger” is none other than “Christ” himself, he battling against the enemies of God, as convincingly shown by Amal in his Blake’s Tyger. The occult atmosphere of the poem is too thick to be taken for the simplest reading as a lyrical piece. Literary inquiry into a mystically disposed poet’s work is not only doing injustice to him; it may even miss the mark what it is actually driving at, or revealing to us. Even to say that the poet is just ‘visualising’ something in his composition is to mentalise and dilute some deep occult experience. The poet is not a reporter reporting what he has visualized; in fact, he is communicating something profound and significant to us. For the “greatest mystic” of the Occident insightful considerations should go when looking at his metaphor-use, considerations of the occult than the literary. That is Blake's Tyger burning in the forests of the night.

Before proposing a Miltonic basis for Blake’s Tyger who is none else but Christ taking up arms against the horde of Satan, they holding spears like stars in the darkness of the night against the supreme Godhead, Amal writes:

A creative divinity … obtains from the supreme Godhead … the power and passion of a luminous wrath, a beautiful ferocity. With this he manifests or projects his immortal dreadfulness into action in a supernatural Tyger form. The divine deadly Tyger goes burning through the huge and labyrinthine cold and sinister darkness of being from whose forests of night rebellious star-angels glitter in their armed hostility. It attacks and vanquishes them but is held back from destroying them: their resistance is entirely broken and they down their arms and weep inconsolably over the debacle. The supernatural beast that pays such a havoc symbolizes the attribute at once contrary and complementary to the one symbolized by the Lamb-form. In it is the same divinity as is manifested and projected in the supernatural Lamb. And this divinity is ever ready to overpower and punish all that in the wake of the stars’ rebellion dwells in what may anywhere be called the night’s forests.

We have in Savitri the defeat of the demons and their weeping even as they foresee the end of the horrendous task they were carrying out. Narad is on his way to Madra paying a purposeful visit to Aswapati (p. 417)

And as he sang the demons wept with joy Foreseeing the end of their long dreadful task And the defeat for which they hoped in vain, And glad release from their self-chosen doom And return into the One from whom they came.

We may look at the corresponding lines in Blakes Tyger which speak of the defeated fallen angels watering heaven with their tears:

When the stars threw down their spears, And water’d heaven with their tears, Did he smile his work to see? Did he who made the Lamb make thee?

It will be a good point to compare the two descriptions but at this moment we can just say that if in one there’s the religio-mystical power of poetry, in the other it is some luminous occult-spiritual revelation which brings out the story of creation in an altogether different way, a forceful way. This could perhaps be discerned very clearly when we read the description of the stars marching with their spears in Savitri (p. 401)

..the stars marched on their long sentinel routes Pointing their spears through the infinitudes…

Here is a victory-march of the stars, and the lyrical moment in the life of the narrator speaks of the triumphant joy that is now his. We could scan the first quotation as follows:

And as | he sang' | the de' |mons wept' | with joy' | Foresee' |ing the end' | of their | long' dread' |ful task' | And the | defeat' | for which | they hoped' | in vain', | And glad' | release' | from their | self-chos' |en doom' | And return' | in'to | the One' | from whom | they came'. |

And this is all by dictation. ~ RYD