REVISING URIZEN AND LUVAH nity" (12:8), Luvah begins, "Dictate to thy Equals. am not I / The Prince of all the hosts of Men nor Equal know in Heaven" (22:1-2); like Los, who said, "One must be master, try thy Arts I also will try mine" (12:20), Luvah concludes, "I will remain as well as thou & here with hands of blood / Smite this dark sleeper in his tent then try my strength with thee" (22:9-10). This sudden reference to the act of smiting (elliptically embedded in the sexual plot ofLos and Enitharmon) forces Luvah's speech to intersect not only the Los/Urizen confrontation but the Los/Enithar- mon plot as well (constituting the "bloody" aspect of Enitharmon's false morning, as Urizen's speech constituted an obfuscating prematurity). As with previous verbal confrontations, this one is itself the primary trying of their respective strengths, for the conclusion of Luvah's speech creates the preconditions of the situation that begins their interchange- the Eternal Man weeping in pain in his tent. Since Luvah claims power over "night" (22:8) and Urizen over "morning" (21:26), their speech acts are warlike acts, situated at the horizon of dawn, which force Urizen and Luvah simultaneously to become one another: While thus he spoke his fires reddend oer the holy tent Urizen cast deep darkness round him silent brooding death Eternal death to Luvah. raging Luvah pourd The Lances of Urizen from chariots, round the holy tent Discord began & yells & cries shook the wide firmament (22:11-15) Although the battle originating here purports to be occurring between two independent male beings, Urizen and Luvah exhibit the same mutual interconstitution common to characters in the sexual plot. They begin to assume each other's characteristics at precisely the moment they attempt to assert their separate identities by initiating the battle: Urizen immediately takes charge of Luvah's darkness while Luvah begins assum- ing Urizen's light in the form of fire and pouring the "Lances of Urizen" from the "chariots" Luvah has apparently just refused (22:11-14). In this intertransformation, "Eternal death," at which Eternity has previously twice groaned, now originates as an event in the war between Urizen and Luvah, rather than as a feature intrinsic to the sexual convolutions of the Tharmas/Enion plot, whose structure inverts the narrative priorities that bring this war between Urizen and Luvah into existence. In the second half of the messengers' account, the events that narratively originated the Tharmas/Enion bracket are turned inside out even more drastically. Los, announced early on (3:9-4:5) as the central figure of the poem and one of the most important characters to be generated by the embedded structures of the first half of Night I, does not appear by name at all in this section. Instead, "Urthona," Los's "name / In Eden" (3:11-4:1), appears as his surrogate-a substitution complicated by the fact that the name "Urthona" has occurred only once since the invocation (in the dis- turbing figure of the "Spectre of Urthona" who suddenly crystallized at the end of the Nuptial Song). Thejealousy plot of Tharmas/Enion, which In their polarization, Lu- vah and Urizen assume each other's characteris- tics. Eternal Death takes on new meaning in this political confrontation between Urizen and Lu- vah: sexual meaning (the Spectre of Tharmas) is repressed.