FOUR ZOAS V / 64:28-65:8


 This brief memory of
falling intersects the war
 Song at the Feast in
 Night I, from which
 Urizen's name was con-
 spicuously absent.




























 Urizen returns to an
 awareness of the Feast
 with which he began
 (64:4), this time
 associated explicitly
with Luvah who has pre-
 viously been excluded
 from it (hovering in the
 bloody sky over the
 Feast in Night I
 [13:4-10]).


 How Urizen's final
 speech gesture in Night
V collects and rearranges
 details from Ahania's
 vision


"horses." Urizen now separates the "horses" plot from the power struggle
plot and substitutes for Luvah the "stars," his "sons" in the Golden
Heavens. He exhibits an apparent memory blank as to why the stars threw
down their spears and fled, and yet he gives no indication that this gap
disturbs him. He states the fall in two words, "We fell," then immediately
shifts, wrenching the perspective, to a direct address toward dark Urthona
and Luvah: "I siezd thee dark Urthona In my left hand falling / I siezd thee
beauteous Luvah thou art faded like a flower / And like a lilly is thy wife
Vala witherd by winds" (64:28-30). If the event Urizen was remembering
in the previous phase of his speech was some version of the narrative
opening of Night II or of Night IV, it would be one of the first times in the
poem an event in the narrative is explicitly "remembered" by a character
(Los's memory in IV that Urizen the King had fallen is another possibil-
ity).
 Throughout these Nights there has been one set of actions in the narra-
tive proper and another set in memories and visions, though the two sets
resemble one another. What Urizen remembers here as the primal or
original fall was characterized in the earlier narrative accounts as an ancil-
lary fall, associated with the Golden Heavens and the casting out of
Ahania. Urizen here makes his own fall occur at the same moment as the
fall of dark Urthona and Luvah, whose falls have been explicitly identified
temporally with one another only in the Messengers' account in Night I,
("Sudden down fell they all together..." [22:38]), though ontologically
and narratively they are all aspects of one another.
 In directly addressing dark Urthona and Luvah and then shifting focus
away from his own fall and from the contrast between the past and present
of his world to that of the present state of Luvah and Vala, Urizen initiates
the final phase of his evasive gesture. The nameless Lord, the all-piercing
eyes, face, and voice of the first section of the speech are suddenly re-
pressed so Urizen can focus on previously hidden aspects of Luvah and his
confrontation with Urizen, aspects which were acknowledged and then
nearly buried in the second half of Ahania's account in Night III. Urizen
seems to address Luvah directly:
 When thou didst bear the golden cup at the immortal tables
 Thy children smote their fiery wings crownd with the gold of heaven
 Thy pure feet stepd on the steps divine, too pure for other feet
 And thy fair locks shadow thine eyes from the divine effulgence
 (64:31-32 and 65:1-2)

These words push key elements from Ahania's vision of Night III into the
foreground of Urizen's speech act: there Urizen's horses were fed "with
intoxication from the wine presses ofLuvah" (39:6), and Luvah here bears
the golden cup; the image of Luvah on the steps coincides with the
"Man" (or Vala) walking on the steps in Ahania's vision; the word "pure"
characterized the "sweet entrancing self delusion" that arose out of the
Man's wearied intellect (and to Ahania as "Pure Bride" in Night I); and all