OPENING THE THARMAS/ENION CONVERSATION sequence, while selected discrepant details suggest a reading of the text as operating according to a psychoanalytic repression model. The most radi- cally discrepant details, however, call attention to their role as elements of perspective analyses of the initial verbal confrontation rather than as pieces fitting into a causaljigsaw puzzle or fodder for a psychoanalytic diagnosis. In general, details overlap from one re-enactment to another, leaving gaps within each account which other re-enactments partially fill and with which they partially conflict. Each subsequent perspective analysis of the initial conversation thus plays a triple role-thrusting the narrative linearly forward (causal model), establishing the concrete or active grounds for the conference (repression model), and retroactively under- mining the possibility of the conference itself (Four Zoas model). Tharmas/Enion Phase I: Verbal Interchange Following the dislocating pseudo-invocation that disperses the narra- tor's identity (3:1-4:5), the narrative proper suddenly shifts to an oblique and difficult verbal confrontation between Tharmas and Enion, intro- duced by the command, "Begin with Tharmas Parent power, darkning in the West" (4:6), which seems to be addressed to the "Daughter of Beulah" of the preceding pseudo-invocation (4:3), but is equally directed toward the narrator, the reader, and the text itself. This line invokes a narrative nucleus or "Parent power" only to undermine it by immersing Tharmas or the beginning in a process of disappearing into a closing boundary (sun setting). The image "darkning in the West" itself functions, however, as a narrative nucleus for other characters and events by binding Tharmas to the sun (and thus to Los who is "bright" and whose name easily converts to "Sol") and to the sky and the horizon (and thus to the character "Uri- zen" soon to appear) and to dawn, the polar opposite of sunset (and thus to "Enitharmon," "Luvah," "Vala," and the "Man," also soon to enter the narrative obliquely or directly connected with a [false] dawn), because "darkning in the West" situates Tharmas at one boundary of the cycle of "Days & nights" just announced in the pseudo-invocation (3:11) and thus immediately opens up the possibility of morning following this western darkening. None of these associations is firm and stable, however; in fact, before Night I has ended, Tharmas will no longer be associated with the sunset image. Blake opens the Tharmas/Enion conversation itself with a cry of anguish uttered by Tharmas (4:7-16), but only by default, since his voice seems to emerge out of a lost identity: "Trembling & pale sat Tharmas weeping in his clouds" (4:28) is the only evidence throughout the conver- sation that he is the other speaker; only as he disappears into the sea, separating from his Spectre, do we get a relatively unambiguous assurance that the utterance "Return O Wanderer when the Day of Clouds is oer" (5:12) is spoken by Tharmas. Enion's voice, on the other hand, is always unambiguously the origin of her words: "Enion said" (4:17 and 5:5), "So Conflicting models of reading Returning to the bound- ary line at the beginning of the narrative proper