NOTES


Destiny") and the actions which Los and Enitharmon believe now are redemptive
in VIla and VIII: we immortal in our own strength survive by stern debate / Till
we have drawn the Lamb of God into a mortal form / And that he must be born is
certain for One must be All / And comprehend within himself all things both
small & great" (E, p. 745, 825). The inclusion of this information in Los's con-
sciousness would have problematized even further Los and Enitharmon's belief
that their actions-which ultimately issue in the appearance of the Lamb as a
character in the poem-are unequivocally "ransoming" or "redeeming."
 '" Blake inserts the events of pages 113 (second portion), 115, and 116 into the
midst of page 106. See note 11, above.
 '6 Luvah and Urizen "conferrd" in Night I (21:19); and the Spectre and the
Shadow of Enitharmon "conferrd among the intoxicating fumes of Mystery / Till
Enitharmons shadow [became] pregnant" (85:5-6).
 The shift to the next section involves a rearrangement of pages by Blake: page
113 (second portion) is inserted into page 106 following line 16.


 Region D

 Among these repetitions, the following are some of the most important. The
first repetition of significance, lines 117:20-22 and 125:8-9 ("The naked warriors
rush together down to the sea shore.... They are become like wintry flocks like
forests stripd of leaves"), identifies the moment the trumpet sounds in the Los
frame with the moment in the Urizen frame when Tharmas is first revealed to be
the trumpeter (125:13). This repetition thus superimposes moments from two dif-
ferent narrative frameworks which participate in the same action, though the
second occurrence of the lines significantly deletes reference to "the multitudes of
slaves now set at liberty[.]" A second major repetition, "from the clotted gore &
from the hollow den / Start forth the trembling millions into flames of mental fire
/ Bathing their limbs in the bright visions of Eternity" (118:17-19 and 119:21-23),
encloses two versions of the trumpet blast effect-the fleeing of the beasts and the
bloody torrential downpour, both of which are severely negative perspectives on
(or aspects of) the otherwise positive messages of freedom from oppression which
the repeated lines themselves express. The most obvious example of repetition
occurs in lines 132:10-12 and 133:2-4 ("The feast was spread...") which clearly
bracket the Tharmas/Enion embrace. Yet this repetition marks only a sub-
embedding within the feast structure and not a major bracket division in itself. A
less obvious fourth example appears in lines 133:30 and 135:4, "The Eternal Man
rejoicd[.]" This repetition, unlike the previous instances, reinforces a linear move-
ment. Even though this repetition in Night IX tends to superimpose or bracket
significantly different events (calling the Morning into Beulah and the Song of the
African Black), these rejoicings appear to be analogous moments in a temporal series,
not two versions of the same moment. Finally, two repetitions that occur in Vala's
garden seem to be constructed to tempt the reader to invoke all the rules of
embedding, superimposition, linear parallels, and so on, only to be evaded by the
pervasive "delusive" quality of Vala's garden. I refer to the double repetition of
"Follow me O my flocks" (128:8; 128:16; and 129:11) and the single repetition of
"Go to Enion" (130:34 and 131:8). Although subtle and radical transformations
take place between these repetitions, they do not prevent the reader from perceiv-
ing the underlying embedded structures because, in contrast to all other examples,


Note 15: page 326

Note 16: page 329


Note 17: page 340


Note 1: page 372