FOUR ZOAS I / 10:13-25


 The logic of Enithar-
 mon's initial contex-
 tualization of new
 character names

















The first account of Lu-
 vah's relation to the
 horses of light


ble involving other character names, with Enitharmon directly associated
with "Vala," and Los with "The Fallen Man": both Los and The Fallen
Man "repose," and in the pseudo-invocation the narrator referred twice to
Los's "fall" (4:4-5). In the logic ofEnitharmon's Song every character must
have been asleep prior to the events she recounts, since the first two charac-
ters remain in a state of "repose" (like Los) or "sleep" while the other two
"woke."23 This event presupposes Beulah where sleep becomes possible.
Of all the characters in her Song only one remains awake-Luvah, who
Enitharmon says, "siez'd the Horses of Light, & rose into the Chariot of
Day" (10:13). The first primary bracket of Night I contained references to
"Sin," associated (within Tharmas) with both Enitharmon andJerusalem.
In the current phase the narrator has insisted that Enitharmon cannot
weave a veil to hide these "Sins" (9:29). Enitharmon therefore creates a
false veil by verbal deception; she substitutes the name "The Fallen Man"
for "Los" (since they both "repose" and thus share a characteristic that
permits her to substitute one name for the other) and substitutes the name
"Vala" for her own name (since both likewise sleep). Also, the Fallen Man
in Enitharmon's vision is either named "Urizen" or is simply linked indis-
solubly with Urizen's first appearance, for they emerge into the poem
together, embedded in similar syntax and states of consciousness. Enithar-
mon totally avoids use of Urizen's name throughout the rest of her vision.
This avoidance is crucial, for if he is to become the most important charac-
ter to enter the narrative proper following the conversation between Los
and Enitharmon, Urizen must be the character in both Enitharmon's Song
and Los's response who is least specified and therefore most open to dialec-
tical manipulation by them.
 Enitharmon's parable functions as a transformational disguise of previ-
 ously unarticulated narrative elements and relationships. By juxtaposing
 syntax and overlapping details her vision simultaneously introduces new
 information as it analyzes prior information:

 And Luvah siez'd the Horses of Light, & rose into the Chariot of Day
 Sweet laughter siezd me in my sleep! silent & close I laughd
 For in the visions of Vala I walkd with the mighty Fallen One
 I heard his voice among the branches, & among sweet flowers.
 (10:13-16)

 Enitharmon's Song draws attention away from the repetition of key words
 in this passage. Although Luvah "siez'd" the Horses just as laughter
 "siezd" Enitharmon, the events themselves appear to be too disparate to be
 clues to parallel meanings; "Sweet" laughter is duplicated in "sweet"
 flowers. As aspects of a perspective transformation these expressions con-
 stitute a field of meaning: Luvah's elimination from Enitharmon's vision
 as he seizes the Horses produces a reflex of laughter that seizes her in her
 sleep; power passes from Luvah to Enitharmon (Vala) through this ges-
 ture, and the departed Luvah is replaced by the lethargic (reposing)
 "mighty Fallen One," who functions as an invisible disembodied "voice"