In locating his allegorical universe (at least temporarily) in Africa for The Song of Los, Blake’s goal is to emphasize beginnings: the beginning of humanity, the beginning of slavery, the beginning of religion, and the beginning of the empty moral systems and laws that he abhors. He not only makes Adam and Noah contemporaries but also adds Moses, Abram (Abraham), and figures of Eastern religion to the cast of characters. The first four, of course, are Biblical characters whose individual histories are told in the book of Genesis, which means “beginnings.” Adam’s story is that of the Fall, but Blake reminds us that simply because Noah lived many years after Adam does not mean that the two figures’ tales are unrelated.
For the Flood is the symbol of another quasi-Fall, in which nearly the entire world is destroyed because of its sinfulness. Given this event’s proximity to original Creation in the Bible, we should be struck by how quickly humanity incurred the wrath of God. There is salvation for the righteous Noah and his family, but the emergence of the curse of Ham quickly associates sin even with Noah and his descendants – and thus the entire human race. If we consider that, according to Genesis, we are all descended from Noah, then we can conclude that all sin stems not from Adam, but from Noah.
Certainly this line of thinking would have been exploited by supporters of slavery, who twisted Biblical accounts of Ham and Noah to justify the exploitation of Africans but conveniently neglected their faith’s declaration that all men are sinners, perhaps insisting that Noah’s other lines maintained righteousness. Blake’s point is to direct his readers to the discrepancies in this point of view and to remind us that, according to both Adams’s and Noah’s stories, every man is fallen and must rely on God for salvation.
For Blake is working on a both a micro- and a macro- level in this poem. He zooms in to Africa to demonstrate how misinterpretation of the Bible or of God has led to horrors and corruption there, but connects the events on that continent to those in other locations – in the “garden of Eden,” “the mountains of Ararat,” “in the East,” and so on (101). In other words, he argues, the Fall is universal: it has occurred and is occurring everywhere, regardless of one’s religion or race. Time is not relevant in the context of sin and its consequent exploitation, and thus time cannot be a factor for those of us, like Blake, who seek to bring about the revolution that will ultimately end those actions and systems that constitute such corruption.