FOUR ZOAS III / 41:5-12 At the beginning of Night IX,Jesus per- forms a similar separa- tion of spirit from body (117:4-5). The difference between "Albion" and the "Awful Man" The mystifying allegory of Ahania's vision is reflected in the return of Urizen's mystifying clouds. credit for blotting out the "Human delusion" (27:16-17). Thus the lan- guage describing Luvah in his descent in Night III modulates against his previous associations with a redemptive form or force. At the same time, Luvah has previously been identified as the smiter and murderer of Albion (by Urizen [12:1-14], and by Albion himself [23:7]), and that association holds here. Ahania identifies the Man's "Spirit" as his "Son," a sexual offspring; and the submerged association with Jesus is not accidental: in this context, Luvah's name is a semantic link between Jesus and delusion. This compressed action serves to separate the "Spirit" from the "Body"; only thirteen lines later this "Body" will itself undergo an inversion and be left "prostrate" on the pavement, superimposing the Man's and Vala's prior bodily positions (40:7, 9). This separation of the Shadow from the Man is conventionalized ironically in the image of the separation of the Spirit from the Body. By giving the Man two different names immediately following Luvah's descent, Blake separates two very different actions the Man performs. "Albion" rose in "terror" at the descent of Luvah (41:3); but the "Awful Man" rose "Indignant" (41:4). Though connected, these two reactions are by no means identical. All aspect-names of the Man in Ahania's vision function, at least in part, as covert allegorical projections for Urizen's hidden actions in this power struggle. The term "Man," with various adjectives characterizing its function, directly parallels aspects of Urizen: "Darkning," Slumbrous," "Indignant," and "Fallen." "Albion," on the other hand, is the name associated in Night II with giving the sceptre to Urizen and with the catastrophic fall and fleeing from the loins that issued from Urizen's creation. Throughout this sequence in Night III "Albion" is associated with "terror" and with waking from sleep, paralleling Urizen's own dawning awareness of his present state. As the sequence involving Luvah and the Man concludes, the name "Albion" gets attached to the dividing "Body," whose fate partially parallels that of the (unmodified) "Man" prostrate in terror of his own shadow. Once the Body has been smitten, the name "Albion" disappears from Night III to reappear again in the context of the body Los will create out of Urizen's chaotic state in Night IV (56:13, 20). It is in his "Indignant" role as "Awful Man" that he turnedd his back on Vala" (41:4), which parallels not only Urizen's "Indignant" descent in Night I (12:7), but more crucially Urizen's act in Night II when he turnedd his back" on his Golden hall and "sought the Labyrinthine porches" (30:26-27) in the process of repressing his sexual division from Ahania. It is therefore at this precise point, when the Awful Man turns his back on Vala in Ahania's vision and thus repeats Urizen's gesture of rejection in Night II, that Ahania is forced to break into her vision and address Urizen: "Why roll thy clouds in sick'ning mists. I can no longer hide / The dismal vision of mine Eyes, O love & life & light! / Prophetic dreads urge me to speak. futurity is before me / Like a dark lamp" (41:5-8). Thus, the moment when Ahania interrupts her vision intersects the moment Urizen