A Short Analysis of William Blake’s ‘The Sick Rose’
A critical reading of a classic short poem
‘The Sick Rose’ was published in William Blake’s Songs of Experience in 1794. The poem remains a baffling one, with Blake’s precise meaning difficult to ascertain. Many different interpretations have been offered, so below we sketch out some of the possible ways of analysing ‘The Sick Rose’ in terms of its imagery.
The Sick Rose
O Rose thou art sick.
The invisible worm,
That flies in the night
In the howling storm:
Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.
How we interpret the meaning of ‘The Sick Rose’ depends largely on how we choose to analyse the poem’s two central images: the rose and the worm. It is possible to see the worm as a symbol of death, given that worms are associated with decay and are commonly said to feed upon the dead (we are ‘food for worms’ in our graves). By contrast, roses are often associated with love, beauty, and the erotic. In Blake’s poem we get several hints that such a reading is tenable: the rose is in a ‘bed’, suggesting not just its flowerbed but also the marriage bed (or even, perhaps, the bed of unmarried lovers); not only this, but it is a bed of ‘crimson joy’, which is not quite as strong a suggestion of sex and eroticism as ‘scarlet joy’ would have been, but nevertheless bristles with more than simple colour-description. (The rose may literally be crimson, but this bright, deep red suggests lifeblood, beating hearts, and perhaps carnal appetites as well.)
Why is the worm flying in Blake’s poem? This is also puzzling, and disturbs us. Worms wriggle and crawl: they aren’t known for flying. Clearly this is a symbolic worm, denoting some sort of corruption at a more metaphorical level. The fact that the worm is a creature of the night suggests that it is like a demon or other night-visitor which feeds upon people as they sleep (back to that ‘bed’ again), like a succubus or incubus sexually ‘feeding’ upon sleeping victims. This would tally with the fact that the worm harbours a ‘dark secret love’ for the rose: is the worm guilty of jealous love for the rose, whose beauty and ‘joy’ it envies? Is this a version of Nietzschean ressentiment, or Oscar Wilde’s statement that ‘Each man kills the thing he loves’? Or perhaps the sort of thing we encounter in another William Blake poem, ‘A Poison Tree’? This might explain the ‘howling storm’ in which the worm ‘flies’: the turbulent emotions and turmoil generated by resenting and hating that which one loves, conflicted desire and disgust.
The poem might be read, slightly differently, as a take on Christian doctrine: ‘worm’ can also be a poetic word for ‘snake’ or ‘serpent’, and this conjures up the Garden of Eden (that bed of roses again?). The Satanic serpent which persuaded Eve to eat the fruit from the Tree of Knowledge is motivated by a desire for revenge against God, and the pure earthly paradise God has established with Adam and Eve.
‘The Sick Rose’, although written in clear, plain language, is an enigmatic poem whose meaning remains difficult to pin down. Therein lies much of its haunting power.
Image: William Blake’s illustration for ‘The Sick Rose’, 1826; via Wikimedia Commons.