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that the subject is doubtful. It may mean the male or symbolic power freeing itself from the feminine or personal.

Page 14. A very small drawing appears to contain Milton, as an error (or falling star: the symbol seems to be that which Swedenborg attributes to the Biblical writers), entering the nether parts of Blake's imagination-the instep. Some flames and rocks divide this figure from an alarmed female, fully dressed-perhaps Mrs. Blake, who figures later in the poem in personal form as watching with alarm Blake's overwhelming fits of imaginative excitement at this time.

One

Page 15. A full page. The upper half a procession of triumphant musicians-string, brass, and tambourine, youths and maidens dancing slowly through rising sun-rays. carries 'Urizen's harp' (Vala,' Night VII., line 688, etc.). He is probably Urizen in innocence, as below his feet is Urizen, taught to break law. Probably the others are not in the wild state of servants of the Mill (page 6, line 9), but they display naked beauty (that of music, not clothed with 'rotten rays of memory,' but made of inspiration only), as this may be displayed with flute and harp and song (extra page 3). The figures themselves are draped. Below their feet, just below the surface of the hill on which they stand, Milton (a nude, powerful figure) is seen struggling with Urizen (a melancholy Jehovah) between two tables of the law upon which Hebrew characters are discernible.

Below, the words 'To annihilate the selfhood of deceit and false forgiveness.' See page 17 of poem.

Page 16. Headpiece-Milton's three wives and three daughters. Tailpiece-Los opposing with fibres the path of Milton. He does so because Milton's morality unlooses the accuser of sins upon man-so at least Enitharmon, his fibrous portion, fears.

Page 21. Los seen in Sol behind Blake, who turns round when in the act of fastening ideas of the world to the lower parts of his imagination, as a sandal to a foot.

Page 24. A few insects, not in human form, creatures from the winepress of Luvah.

Page 26. Two pictures. Large mountains. No figures. The two gates' described in line 11 and following.

Page 29. Full page drawing of Blake, with Milton as a falling star. An enlargement of the drawing on page 14. The word 'William' is written large.

Page 30. Heading, a few small flying and floating figures, some falling, some rising round the name 'Milton, Book the Second.'

Page 32. A diagram. Four circles are drawn through one another so as to touch at a central point. Two are so

placed that a line from centre to centre would be level, but a line from centre to centre of the other two would be upright. Each circle is about the size of a five shilling piece. In the midst is placed an egg, about the size of a hen's egg. In the upper part of it is a spot called Adam. In the lower part no spot. The space is called Satan. The top circle is called Ürthona, the bottom one Urizen; that on the right Luvah, that on the left Tharmas. They are labelled North-letters also, N., W., S., E. Flames surround them. A line from below on the right is drawn ascending to the spot ‘Adam,'

and labelled 'Milton's Track.'

Page 33. A full page drawing, similar to that on page 29. The figure is in reverse, that is, he falls backwards to the right, and not to the left of the picture. His foremost foot is his right, and not his left foot. The name written is Robert, not William, and the star is smaller, and more darkness is in the background. No explanation of this picture has been found in such of Blake's writings as we at present possess.

Page 36. A very rough drawing (not at all correct), labelled Blake's cottage at Felpham.' It is childish, and seems to have been done by a little boy of six. Blake (a figure less than an inch in height) walks in the garden, meeting Ololon (the same size), who is stepping down from the sky. Traces of power and dignity are in Ololon and her flying scarf.

Page 38. A full page drawing of a man and woman lying on a rock at the base of a cliff, surrounded by waves. An eagle flies above them, looking down at them. They represented the flesh, powerless without imagination to resist time and space. In the part of the vision of Ahania after line 505 of Night VIII. of 'Vala,' the subject is carried further in verse.

Page 41. A full page drawing of frailty worshipping for. giveness. A nude male figure of Christ, encouraging a draped female figure, who falls on her knees on the banks of a shallow stream, across which he walks. Magdalen and the risen Christ, symbolically understood—

'But I, thy Magdalen, behold thy spiritual risen body.' ('Jerusalem,' page 62, line 14.) 'O Melancholy Magdalen, behold the morning (over Malden) breaks.'-('Jerusalem, page 65, line 38; Vala,'

Night VII., line 679 and following.)

Page 42. A small sketch of a man underground struggling with monsters of the deep. Man striving with his own intellect under reason's dominion, or Milton as Urizen (into whom he entered by giving him life) in Urthona's den (‘Vala,' Night VI.).

Page 43. A small rough drawing of floating figures holding hands, with arms interlaced above their heads-the human forms of happy words free from ‘reason'; and 'memory' bathed in waters of life.'

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Page 44. Enitharmon in clouds over the hills of Surrey (line 31 of this page), symbolically; pity weeping on the human harvest, and animating by her tears,' as Vala 'built by the reasoning power' was 'animated' by the tears of Jerusalem.

Page 45. The human harvest growing.

END OF VOL. 1.

Printed by T. and A. CONSTABLE, Printers to His Majesty at the Edinburgh University Press

VOL. I.

Page xvii, 7 lines from top, for Crabbe read Crabb.

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xix, 24 lines from top, for Garnel read Garnett.

xxiii, 7 lines from top, for sun read son.

xxxiv, second line, for Mr. Grant Richards read Chatto
& Windus.

96, 15 lines from top, for filch read fetch.

114, 12 lines from top, delete tread.

172, 14 lines from top, for Warble read Wardle.

VOL. II.

213, 7 lines from foot, for Songs read Sons.

223, 24 lines from top, for lone read Love.

228, 5 lines from foot, for long heroic line read strong

heroic verse.

231, fifth line, for 1. 5 read first five lines.

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last line, for 626 read 628.

232, top line, for 734 read 737.

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line 22, for long-heroic read strong heroic.

234, lines 3, 4, and 7, 8, from top to be deleted (first
and third full lines of quotation).

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9 lines from top, delete centre (referring to the
second full line of quotation).

17 lines from top, for 141 and 142 read 145-146.
235, delete references to Night vII.

345, fourth line, for plows read blows.

347, ninth line from bottom, for Shilon read Shiloh.

354, fifth line, for Forgiven read Forgivers.

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seventh line from foot, for A Voltaire read O Vol-
taire.

4 lines from foot, for Year read Tear.
360, 5 lines from top, for Ador read floor.

365, 10 lines from top, for path read pain.

406, 22 lines from top, for wonders read wanders.
415, line 1, for in***lement read imminglement.

429, 9 lines from foot, for on read an.

445, 16 lines from top, for sendinding read sending.

447, 20 lines from top, for Ginon read Gihon.

464, 13 lines from top, for his Bow Fourfold, the Vision,
read his Bow, Fourfold the Vision, for etc.

465, 5 lines from top, for Fourfold, loud read Fourfold.

Loud.

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