THE BATTLE-FLIGHT OF THARMAS / THE BINDING OF THE BODY fused the roles of Urizen and Enitharmon, Los cannot bind one without binding the other. The narrative has returned to the fiction that (in Night I) generated Urizen in response to a call by Enitharmon. "The lovely female howld & Urizen beneath deep grand" (53:10). Los joys equally at both sounds: absorbedd in dire revenge he drank with joy the cries / Of Enitharmon & the groans of Urizen" (53:12-13). Los's task here is thus an extension of his "drinking up" the power of Urizen, Luvah, and Enion - the residue of the Spectrous form of the Feast in Night I. The Spectre, however, now a separate character in the plot itself, differentiates between Urizen and Enitharmon. In Night II Los and Enitharmon absorbed the Spectre by working together (in the submerged metaphor of the Feast) to plant seeds of destruction in Urizen and Ahania. Los and Enitharmon are now at odds - an exteriorization of their sexual feud throughout the poem, which ironi- cally was the source of their absorbing the Spectre, who now grasps that he and Los will somehow become victims of this act of torture. Yet the aspect of the Spectre that intersects with Los at this point joys unequivoc- ally at Urizen's torture: The Spectre wept at his dire labours when from Ladles huge He pourd the molten iron round the limbs of Enitharmon But when he pourd it round the bones of Urizen he laughd Hollow upon the hollow wind. his shadowy form obeying The voice of Los compelled he labourd round the Furnaces (53:15-19) The binding of the body that follows these lines inverts the primal anatomization of Tharmas in Night I from which all the perspective analyses in the poem have emerged: the body is built inside out. Further, the "chaos" to which Los is giving form is itself indirectly identified (54:14) in the binding process as a joyous sensory expansion which each "age" shrinks downward or outward. The narrator's equation of the cha- otic form of fallen Urizen with sensory joy makes the chaotic state into which Urizen has fallen structurally equivalent to the unfallen state ofjoy. In Night III the "Fallen Man" projected the fall of his "Body" onto Luvah as a shrinking of the senses; now this sensory shrinking is projected onto Urizen as well. Since Tharmas is the chaotic form and emergent body of Urizen (having risen out of Urizen's fall in Night III in a catalogue of shattered bodily parts), this emergent body retroactively makes the initial anatomization of Tharmas in Night I possible. The anatomical develop- ment in Night IV involves the formation of layers of tissue and bone, with each layer hiding previous layers and making the body more complex as it becomes more concealed. Because Los's act of binding recapitulates every major repressive action of the poem up to this point, it is narratively inevitable that Los should explicitly become what he beholds (53:24). Thus far in Night IV Blake has dramatized the division of Los from Enitharmon under two different perspectives: Tharmas' separation of Differences between Los and the Spectre in the binding of Urizen and Enitharmon Building/binding of the body inside out (corol- lary of plot inversion) Undermining a primal state ofjoy by equating it with Urizen's chaotic form Los becoming what he beholds equals narrative inevitability.