tention to t he formulation of its title and observing that "of all the songs of experience the one which provides the greatest insight into Blake's concern with his titles, his struggle to define the two contrary states of the human soul, and his poetic technique (es pecially in the Songs of Experience), is "The Human Abstract". He also approaches the poem through an examination of the four drafts located in Blake's manuscript, pointing out that critics have neglected to examine the way in which the poem "A Divine Image" "is complexly operative in 'The Human Abstract.'" This connection is the focus of the Gleckner's essay, which he concludes with the contention that "The Human Abstract" represents Blake's final realization that the "real disease" is not a "s ocial, economic, religious, [or] political" force, but rather "the cancerous tree of mystery...man's own thinking process." Later, both Geoffrey Keynes and David Erdman will point out that "The Human Abstract" replaced "A Divine Image" as the Experience response to "The Divine Image." In Blake's Apocalypse: A Study in Poetic Argument, 1963, Harold Bloom reads "The Human Abstract" in conjunction with its Innocence partner, "The Divine Image," noting that the word "Abstract" should not be misconst rued as literally meaning "separated," because "the contrast between the two poems is not between the integral and the split human nature, but rather between the equal delusions of Innocence and Experience as to the relationship of the h uman to the natural." He links the poem to both Genesis and the Norse myths of Odin (whom Bloom calls "the Norse Nobodaddy") and Balder, observing that both the "raven" and the "Tree of Mystery" were drawn from those mythologies. In 1964, E.D. Hirsch also compares "The Human Abstract" to "The Divine Image", contending that the former is "not only a satire of [the latter] but also a naturalization of it." He asserts that the satirical first stanza "should be...
