MILTON & LARK

New York Public Library

Milton

Plate 36

Blake makes a dramatic reversal in his imagery on Plate 31 of Milton. From the laboring of Los, the howling of Orc, the trembling of Enitharmon and the weeping of Beulah, he goes directly to the Nightingale singing the song of spring. With her song she brings a message of hope and joy and love expresed by a chior of birds and a chorus of flowers.

The moment of vision arrives as a flash of lightining delivered by a messenger, or by an angel in the form a lark, arriving after consultation with the Twenty-seven Churches. This moment of vision was what Blake was seeking. He had brought together the wisdom to which he had access, sought the guidance of providence, and listened for a message in response. Blake perceived that by renovating his own psyche, Milton would become restored to completeness. Together he and Milton could forgive each other, themselves and God for any errors that had led to suffering. 

Milton, Plate 31 [34],(E 130)

"Corporeal Strife      

In Los's Halls continual labouring in the Furnaces of Golgonooza
Orc howls on the Atlantic: Enitharmon trembles: All Beulah weeps

Thou hearest the Nightingale begin the Song of Spring;
The Lark sitting upon his earthy bed: just as the morn
Appears; listens silent; then springing from the waving Corn-field! loud
He leads the Choir of Day! trill, trill, trill, trill,
Mounting upon the wings of light into the Great Expanse:
Reecchoing against the lovely blue & shining heavenly Shell:
His little throat labours with inspiration; every feather
On throat & breast & wings vibrates with the effluence Divine    
All Nature listens silent to him & the awful Sun
Stands still upon the Mountain looking on this little Bird
With eyes of soft humility, & wonder love & awe.
Then loud from their green covert all the Birds begin their Song
The Thrush, the Linnet & the Goldfinch, Robin & the Wren         
Awake the Sun from his sweet reverie upon the Mountain:
The Nightingale again assays his song, & thro the day,
And thro the night warbles luxuriant; every Bird of Song
Attending his loud harmony with admiration & love.
This is a Vision of the lamentation of Beulah over Ololon!       

Thou percievest the Flowers put forth their precious Odours!
And none can tell how from so small a center comes such sweets
Forgetting that within that Center Eternity expands
Its ever during doors, that Og & Anak fiercely guard[.]
First eer the morning breaks joy opens in the flowery bosoms     
Joy even to tears, which the Sun rising dries; first the Wild Thyme
And Meadow-sweet downy & soft waving among the reeds.
Light springing on the air lead the sweet Dance: they wake
The Honeysuckle sleeping on the Oak: the flaunting beauty
Revels along upon the wind; the White-thorn lovely May           
Opens her many lovely eyes: listening the Rose still sleeps 
None dare to wake her. soon she bursts her crimson curtaind bed
And comes forth in the majesty of beauty; every Flower:
The Pink, the Jessamine, the Wall-flower, the Carnation
The Jonquil, the mild Lilly opes her heavens! every Tree,        
And Flower & Herb soon fill the air with an innumerable Dance
Yet all in order sweet & lovely, Men are sick with Love! 

Such is a Vision of the lamentation of Beulah over Ololon" 

Milton, Plate 35 [39], (E 135)

"O how the Starry Eight rejoic'd to see Ololon descended!
And now that a wide road was open to Eternity,                   

By Ololons descent thro Beulah to Los & Enitharmon,

For mighty were the multitudes of Ololon, vast the extent
Of their great sway, reaching from Ulro to Eternity

Surrounding the Mundane Shell outside in its Caverns
And through Beulah. and all silent forbore to contend            
With Ololon for they saw the Lord in the Clouds of Ololon

There is a Moment in each Day that Satan cannot find
Nor can his Watch Fiends find it, but the Industrious find
This Moment & it multiply. & when it once is found
It renovates every Moment of the Day if rightly placed.        
In this Moment Ololon descended to Los & Enitharmon
Unseen beyond the Mundane Shell Southward in Miltons track

Just in this Moment when the morning odours rise abroad
And first from the Wild Thyme, stands a Fountain in a rock
Of crystal flowing into two Streams, one flows thro Golgonooza   

And thro Beulah to Eden beneath Los's western Wall
The other flows thro the Aerial Void & all the Churches
Meeting again in Golgonooza beyond Satans Seat

The Wild Thyme is Los's Messenger to Eden, a mighty Demon
Terrible deadly & poisonous his presence in Ulro dark            
Therefore he appears only a small Root creeping in grass
Covering over the Rock of Odours his bright purple mantle
Beside the Fount above the Larks nest in Golgonooza
Luvah slept here in death & here is Luvahs empty Tomb
Ololon sat beside this Fountain on the Rock of Odours.           

Just at the place to where the Lark mounts, is a Crystal Gate
It is the enterance of the First Heaven named Luther: for
The Lark is Los's Messenger thro the Twenty-seven Churches
That the Seven Eyes of God who walk even to Satans Seat
Thro all the Twenty-seven Heavens may not slumber nor sleep      

But the Larks Nest is at the Gate of Los, at the eastern
Gate of wide Golgonooza & the Lark is Los's Messenger
PLATE 36 [40], (E 136)

When on the highest lift of his light pinions he arrives
At that bright Gate, another Lark meets him & back to back
They touch their pinions tip tip: and each descend
To their respective Earths & there all night consult with Angels
Of Providence & with the Eyes of God all night in slumbers       
Inspired: & at the dawn of day send out another Lark
Into another Heaven to carry news upon his wings
Thus are the Messengers dispatchd till they reach the Earth again
In the East Gate of Golgonooza, & the Twenty-eighth bright
Lark. met the Female Ololon descending into my Garden            
Thus it appears to Mortal eyes & those of the Ulro Heavens
But not thus to Immortals, the Lark is a mighty, Angel.

For Ololon step'd into the Polypus within the Mundane Shell
They could not step into Vegetable Worlds without becoming
The enemies of Humanity except in a Female Form          
And as One Female, Ololon and all its mighty Hosts
Appear'd: a Virgin of twelve years nor time nor space was
To the perception of the Virgin Ololon but as the
Flash of lightning but more  quick the Virgin in my Garden
Before my Cottage stood for the Satanic Space is delusion"   

Milton, Plate 21 [23], (E 115)
"I saw in the nether
Regions of the Imagination; also all men on Earth, 
And all in Heaven, saw in the nether regions of the Imagination
In Ulro beneath Beulah, the vast breach of Miltons descent.
But I knew not that it was Milton, for man cannot know
What passes in his members till periods of Space & Time
Reveal the secrets of Eternity: for more extensive    
Than any other earthly things, are Mans earthly lineaments.
And all this Vegetable World appeard on my left Foot,
As a bright sandal formd immortal of precious stones & gold:
I stooped down & bound it on to walk forward thro' Eternity.
    

BLAKE & OLOLON

Blake Archive

Library of Congress

Milton

Plate 50

1) Ololon seeking Milton who appears in Blake's garden

Milton, Plate 37 [41], (E 137)
"The Virgin answerd. Knowest thou of Milton who descended
Driven from Eternity; him I seek! terrified at my Act
In Great Eternity which thou  knowest!  I come him to seek

So Ololon utterd in words distinct the anxious thought
Mild was the voice, but more distinct than any earthly           
That Miltons Shadow heard & condensing all his Fibres
Into a strength impregnable of majesty & beauty infinite
I saw he was the Covering Cherub & within him Satan
And Raha[b], in an outside which is fallacious! within
Beyond the outline of Identity, in the Selfhood deadly           
And he appeard the Wicker Man of Scandinavia in whom
Jerusalems children consume in flames among the Stars

Descending down into my Garden, a Human Wonder of God
Reaching from heaven to earth a Cloud & Human Form
I beheld Milton with astonishment & in him beheld            
The Monstrous Churches of Beulah, the Gods of Ulro dark
Twelve monstrous dishumanizd terrors Synagogues of Satan.
A Double Twelve & Thrice Nine: such their divisions."

2) Ololon, as a Virgin, is beheld in Blake's garden

Milton, Plate 36 [40], (E 136)

"For Ololon step'd into the Polypus within the Mundane Shell

They could not step into Vegetable Worlds without becoming
The enemies of Humanity except in a Female Form          
And as One Female, Ololon and all its mighty Hosts
Appear'd: a Virgin of twelve years nor time nor space was
To the perception of the Virgin Ololon but as the
Flash of lightning but more  quick the Virgin in my Garden
Before my Cottage stood for the Satanic Space is delusion        

For when Los joind with me he took me in his firy whirlwind
My Vegetated portion was hurried from Lambeths shades
He set me down in Felphams Vale & prepard a beautiful
Cottage for me that in three years I might write all these Visions
To display Natures cruel holiness: the deceits of Natural Religion[.]   
Walking in my Cottage Garden, sudden I beheld
The Virgin Ololon & address'd her as a Daughter of Beulah[:]

Virgin of Providence fear not to enter into my Cottage
What is thy message to thy friend: What am I now to do
Is it again to plunge into deeper affliction? behold me          
Ready to obey, but pity thou my Shadow of Delight

Enter my Cottage, comfort her, for she is sick with fatigue" 

3)  Milton's Shadow enters

Milton, Plate 37 [41], (E 137)
"The Virgin answerd. Knowest thou of Milton who descended
Driven from Eternity; him I seek! terrified at my Act
In Great Eternity which thou  knowest!  I come him to seek

So Ololon utterd in words distinct the anxious thought
Mild was the voice, but more distinct than any earthly           
That Miltons Shadow heard & condensing all his Fibres
Into a strength impregnable of majesty & beauty infinite
I saw he was the Covering Cherub & within him Satan
And Rahab, in an outside which is fallacious! within
Beyond the outline of Identity, in the Selfhood deadly           
And he appeard the Wicker Man of Scandinavia in whom
Jerusalems children consume in flames among the Stars

Descending down into my Garden, a Human Wonder of God
Reaching from heaven to earth a Cloud & Human Form
I beheld Milton with astonishment & in him beheld            
The Monstrous Churches of Beulah, the Gods of Ulro dark
Twelve monstrous dishumanizd terrors Synagogues of Satan.
A Double Twelve & Thrice Nine: such their divisions."

Milton, Plate 39 [44],(E 140)

"So Milton
Labourd in Chasms of the Mundane Shell, tho here before
My Cottage midst the Starry Seven, where the Virgin Ololon
Stood trembling in the Porch: loud Satan thunderd on the stormy Sea
Circling Albions Cliffs in which the Four-fold World resides     
Tho seen in fallacy outside: a fallacy of Satans Churches"

4) Milton hears Ololon's account, and calls for annihilation of selfhood  

Milton, Plate 40 [46], (E 141)

"Before Ololon Milton stood & percievd the Eternal Form
Of that mild Vision; wondrous were their acts by me unknown
Except remotely; and I heard Ololon say to Milton

I see thee strive upon the Brooks of Arnon. there a dread
And awful Man I see, oercoverd with the mantle of years.   
I behold Los & Urizen. I behold Orc & Tharmas;
The Four Zoa's of Albion & thy Spirit with them striving
In Self annihilation giving thy life to thy enemies
Are those who contemn Religion & seek to annihilate it
Become in their Femin[in]e portions the causes & promoters       
Of these Religions, how is this thing? this Newtonian Phantasm
This Voltaire & Rousseau: this Hume & Gibbon & Bolingbroke
This Natural Religion! this impossible absurdity
Is Ololon the cause of this? O where shall I hide my face
These tears fall for the little-ones: the Children of Jerusalem  
Lest they be annihilated in thy annihilation.

No sooner she had spoke but Rahab Babylon appeard
Eastward upon the Paved work across Europe & Asia
Glorious as the midday Sun in Satans bosom glowing:
A Female hidden in a Male, Religion hidden in War               
Namd Moral Virtue; cruel two-fold Monster shining bright
A Dragon red & hidden Harlot which John in Patmos saw

And all beneath the Nations innumerable of Ulro
Appeard, the Seven Kingdoms of Canaan & Five Baalim
Of Philistea. into Twelve divided, calld after the Names      
Of Israel: as they are in Eden. Mountain. River & Plain
City & sandy Desart intermingled beyond mortal ken

But turning toward Ololon in terrible majesty Milton
Replied. Obey thou the Words of the Inspired Man
All that can be annihilated must be annihilated  

That the Children of Jerusalem may be saved from slavery
There is a Negation, & there is a Contrary
The Negation must be destroyd to redeem the Contraries
The Negation is the Spectre; the Reasoning Power in Man
This is a false Body: an Incrustation over my Immortal           
Spirit; a Selfhood, which must be put off & annihilated alway
To cleanse the Face of my Spirit by Self-examination."

5)  Ololon perceives her responsibility for Milton's error 

Milton, Plate 41 [48] (E 142)

"These are the destroyers of Jerusalem, these are the murderers
Of Jesus, who deny the Faith & mock at Eternal Life:
Who pretend to Poetry that they may destroy Imagination;
By imitation of Natures Images drawn from Remembrance
These are the Sexual Garments, the Abomination of Desolation
Hiding the Human lineaments as with an Ark & Curtains
Which Jesus rent: & now shall wholly purge away with Fire
Till Generation is swallowd up in Regeneration.

Then trembled the Virgin Ololon & replyd in clouds of despair

Is this our Feminine Portion the Six-fold Miltonic Female      
Terribly this Portion trembles before thee O awful Man
Altho' our Human Power can sustain the severe contentions
Of Friendship, our Sexual cannot: but flies into the Ulro.
Hence arose all our terrors in Eternity! & now remembrance
Returns upon us! are we Contraries O Milton, Thou & I            
O Immortal! how were we led to War the Wars of Death
Is this the Void Outside of Existence, which if enterd into
PLATE 42 [49]          
Becomes a Womb? & is this the Death Couch of Albion
Thou goest to Eternal Death & all must go with thee"

6) Sixfold virgin divides, flees to Milton's shadow, Ololon descends to Felpham's vale

Milton, Plate 42 [49] (E 143)             
"Becomes a Womb? & is this the Death Couch of Albion
Thou goest to Eternal Death & all must go with thee

So saying, the Virgin divided Six-fold & with a shriek
Dolorous that ran thro all Creation a Double Six-fold Wonder!
Away from Ololon she divided & fled into the depths              
Of Miltons Shadow as a Dove upon the stormy Sea.

Then as a Moony Ark Ololon descended to Felphams Vale
In clouds of blood, in streams of gore, with dreadful thunderings
Into the Fires of Intellect that rejoic'd in Felphams Vale
Around the Starry Eight: with one accord the Starry Eight became 
One Man Jesus the Saviour. wonderful! round his limbs
The Clouds of Ololon folded as a Garment dipped in blood
Written within & without in woven letters: & the Writing
Is the Divine Revelation in the Litteral expression:
A Garment of War, I heard it namd the Woof of Six Thousand Years 

And I beheld the Twenty-four Cities of Albion
Arise upon their Thrones to Judge the Nations of the Earth
And the Immortal Four in whom the Twenty-four appear Four-fold
Arose around Albions body: Jesus wept & walked forth
From Felphams Vale clothed in Clouds of blood, to enter into     
Albions Bosom, the bosom of death & the Four surrounded him
In the Column of Fire in Felphams Vale; then to their mouths the Four
Applied their Four Trumpets & them sounded to the Four winds

Terror struck in the Vale I stood at that immortal sound
My bones trembled. I fell outstretchd upon the path              
A moment, & my Soul returnd into its mortal state
To Resurrection & Judgment in the Vegetable Body
And my sweet Shadow of Delight stood trembling by my side

Immediately the Lark mounted with a loud trill from Felphams Vale
And the Wild Thyme from Wimbletons green & impurpled Hills       
And Los & Enitharmon rose over the Hills of Surrey
Their clouds roll over London with a south wind, soft Oothoon
Pants in the Vales of Lambeth weeping oer her Human Harvest
Los listens to the Cry of the Poor Man: his Cloud
Over London in volume terrific, low bended in anger.             

Rintrah & Palamabron view the Human Harvest beneath 
Their Wine-presses & Barns stand open; the Ovens are prepar'd 
The Waggons ready: terrific Lions & Tygers sport & play 
All Animals upon the Earth, are prepard in all their strength"

Milton, Plate 43 [50] (E 144)            
"To go forth to the Great Harvest & Vintage of the Nations

                                  Finis"

Milton, the poem, consists of two books. In the first the poet Milton leaves heaven to complete his unfinished work on earth. In the second book he engages with his feminine aspect who is called Ololon. Some of the pairs of words which describe the divided masculine/feminine are: spirit/matter, creator/created, inner/outer, essence/manifestation, sky/earth, active/receptive. The book Milton attempts to reconcile these contraries.

The final passages in W J T Mitchell's essay Blake's Radical Comedy, contained in the anthology Blake's Sublime Allegory, clarify the roles of Milton and Ololon in Blake's Milton.  

Pages 304-307

"The meeting of Milton and Ololon, then, is simultaneously a revelation of the archetypal errors of masculine and feminine consciousness and a redemption of those errors...But the first thing we could agree upon is that the concept surely involves the epic value of courage. Milton does not come to teach passivity or quietistic humility; that is the lesson of Satan.

...The second thing we ought to notice is that the courage required for self-annihilation is not in itself sufficient to redeem either the self or the world. Milton's act would remain within the fruitless cycle of creation and destruction which continues to trap the male imagination, even after his descent, if it were not for Ololon's response, her renewal of life to balance his descent to death.

...Milton's act of self-annihilation, which has been promised from the beginning as the central event of the poem, is never described...Milton's self-annihilation is not a particular act which he performs at the end of his descent; it is a continuous process which begins when he first sheds his robe of the promise to return to the fallen world and which continues beyond the end of the poem...

The meaning of Milton, then, is in the reverberations between the desents of Milton and Ololon. We can look at them as representing the active and passive poles of consciousness, the maker-destroyer of systems versus the principle of life and inspiration in both the maker and his system...

Blake created a system in his poems lest he be enslaved by another man's; but his real problem, it should be clear, was to design a system that would self-destruct. Milton, the character, is transformed in the course of his poem into just such a paradoxical entity, a State called 'Eternal Annihilation.' Milton, the poem, is built to embody the same paradox."

Those of you who ascribe to Carl Jung's psychology will notice that the same emphasis that Jung put on the recognition of the Anima as essential to completing the psyche, is apparent in Blake's Milton regarding Ololon's recognition. As incorporating aspects of the Anima is necessary in accomplishing the psychic development of the male, so is including Ololon's qualities indispensible to Milton.  

 

BIBLE IN MILTON

First posted Feb 2011.

Few people are as familiar with the Bible as was Blake. He included Biblical references innumerable times throughout his work as a way of packing symbols together for the reader to unpack as he journeys through the dense imagery.

The extent of biblical knowledge which went into producing the following section of Milton is demonstrated by Harold Bloom in this introduction (page xii) to Bloom's Classic Critical Views: William Blake. Bloom's attention is focused on the confrontation between Urizen and Milton beside the brook Arnon.

Milton, Plate 19 [21], (E 112)
"Urizen emerged from his Rocky Form & from his Snows,

And he also darkend his brows: freezing dark rocks between
The footsteps. and infixing deep the feet in marble beds:
That Milton labourd with his journey, & his feet bled sore
Upon the clay now chang'd to marble; also Urizen rose,
And met him on the shores of Arnon; & by the streams of the
brooks

Silent they met, and silent strove among the streams, of Arnon
Even to Mahanaim, when with cold hand Urizen stoop'd down
And took up water from the river Jordan: pouring on
To Miltons brain the icy fluid from his broad cold palm.
But Milton took of the red clay of Succoth, moulding it with care
Between his palms: and filling up the furrows of many years
Beginning at the feet of Urizen, and on the bones
Creating new flesh on the Demon cold, and building him,
As with new clay a Human form in the Valley of Beth Peor."

Bloom who wrote the commentary for The Complete Poetry & Prose of William Blake edited by David V. Erdman makes this statement:

"This magnificent passage does assume the reader's knowledge of some crucial biblical references. The Arnon is a river flowing westward into the Dead Sea and dividing off the Trans-Jordan lands of the Israelites from Moab. Numbers 21:14 associates the Arnon and the Red Sea, by which the Israelites escaped the deadly bondage of Egypt. The Arnon in Blake has the same significance, as Milton Percival observes, for through it one passes from the body of death into the generative body, from Urizenic law to the sacrifice of Luvah for man. Mahanaim (Genesis 32:2) is where Jacob wrestled with God until he had secured a blessing and the name of Israel. Succoth is where Jacob went afterwards, to build a house and booths (Genesis 33:17), the booths giving the place its name, and associating the story with the harvest festival, where four plants represent four classes of men united as one man in worship. Beth Peor is the burial place of Moses in the land of Moab. Drawing all this together and applying it to Blake's passage, we suddenly behold the audacity and clarity with which Blake had molded his sources.

Urizen fears that Milton is coming to overthrow his laws, for Milton began by taking off the robe and ungriding himself from the oath of Urizen-Jehovah's covenant with Moses. So Urizen goes forth to battle, turning the warm clay Milton walks on to freezing and purgatorial marble. They meet and wrestle, two silent and mighty champions, on the shores of Arnon, the body of law striving with the human form divine. Their struggle is like the wrestling of Jehovah and Jacob, except that Milton will not repeat Jacob's mistake, he wants to reform God, and not just extract a blessing for himself.

As the battle continues, Urizen attempts an icy intellectual baptism of Milton with Jordan water, but Milton fights back by taking the Adamic red clay of Succothe, emblem of a human harvest from the same valley where the body of Moses or Urizenic law is forever buried. Milton's activity is artistic and gives the sculptor's gift of life, of red flesh to cold marble, making God into a Man, Urizen into Adam.

This extraordinary struggle attains an apotheosis in one on Blake's superb condensations on intellectual strife transmuted into saving metaphor."

IMAGE: Milton, Plate 45


Milton, Plate 21 [23], (E 115)
"But Milton entering my Foot; I saw in the nether
Regions of the Imagination; also all men on Earth,
And all in Heaven, saw in the nether regions of the Imagination
In Ulro beneath Beulah, the vast breach of Miltons descent.
But I knew not that it was Milton, for man cannot know
What passes in his members till periods of Space & Time
Reveal the secrets of Eternity: for more extensive
Than any other earthly things, are Mans earthly lineaments.

And all this Vegetable World appeard on my left Foot,
As a bright sandal formd immortal of precious stones & gold:
I stooped down & bound it on to walk forward thro' Eternity."

Bloom : "I offer this as an epitome of Blake's unique greatness. Few passages in Western poetry equal this in originality and soul-arousing eloquence" 

EPIC POETRY

Fine Art America

The Characters in Spenser's Faerie Queen

Frye presents these three English poems Chaucer's Canterbury Tales, Spenser’s The Faerie Queene, and Milton's Paradise Lost as the epics which would have been the exemplars for Blake. The goal which was before each serious poet, Frye believed, would have been to write a fourth English epic, building on the achievements of these predecessors. 

Below are quotes from Northrop Frey's Fearful Symmetry which have been helpful to me in attempting to understand Blake's Milton. Topics for study before one plunges into Milton may include Epic Poetry, John Milton's biography, William Blake's biography, Blake's The Four Zoas, Milton's Paradise Lost, and, of course, the Old and New testaments of the Bible. 

Fearful Symmetry - Page 9

"Blake's own definition of poetry:

'Allegory addressd to the Intellectual powers while it is altogether hidden from the Corporeal Understanding is My Definition of the Most Sublime Poetry. it is also somewhat in the same manner defin'd by Plato.'

...The corporeal understanding, then, canot do more than elucidate the genuine obscurities, the things requiring special knowledge to understand,
...The 'intellectual powers' go to work rather differently; they start with the hypothesis that the poem in front of them is an imaginative whole and work out the implications of that hypothesis 'Every Poem must necessarily be a perfect Unity,' said Blake: the identity of form and content is the axiom of all sound criticism."

Fearful Symmetry - Page 316

"The function of the epic, in its origin, seems to be primarily to teach the nation, or whatever we call the social unit which the poet is addressing, irs own traditions. These traditions are chiefly concerned with the national religion and the national history...The religion is not theological nor the history documentary: both are mythopoeic. "  

Fearful Symmetry - Page 319

"Milton thinks of himself continually as an inspired prophet sent by God to present his vision to the English people."

Fearful Symmetry - Page 340

"The primary social function of the epic is to teach the 'nation' its own traditions, and in Blakean terms this means recreating dead facts into living truths, the vanished spectres of tradition into imagination's eternal and infinite present. 

... the prophets did not turn their backs on their national history: they recreated it, and brought out of it the eternally present archetypes of the fall and redemption of man."

Fearful Symmetry - Page 346

"Blake is, therefore, trying to do for Milton what the prophets and Jesus did for Moses: isolate what is poetic and imaginative and annihilate what is legal and historical. This is also what he is trying to do for himself, and there will always be a curse on any critic who tries to see the Christianity and radicalism of Blake as a dichotomy instead of a unity." 

Fearful Symmetry - Page 352

"He (Milton) felt...that the family was the main breach in the visionary's defenses through which the powers of compromise came pouring with their threats and wheedling. The visionary's right to cut himslf loose from his family when his genius was in mortal danger was an essential part of Milton's conception of liberty and was perhaps the real reason for writing the divorce tracts...
When Satan is in charge of this world,
'A mans worst enemies are those
Of his own house & family'
Jerusalem, Plate 27, (E 173)

Fearful Symmetry - Page 355

"The Epilogue of the great poem is exquisitely managed. With the four Zoas sounding the trumpets of the Last Judgement in his ears, Blake falls into a swoon, and revives in his garden with his wife bending anxiously over him, and before him a singing lark and a wild thyme, the early-rising bird and the early-flowering plant of returning spring...

..Milton is the prelude to a longer poem on the theme it announces, the building of a continuing city in the England of the Satanic Mills."

Fearful Symmetry - Page 359 - Final quote from Frye

"[By] the time he wrote Jerusalem Blake was so accustomed to thinking in terms of his symbols that the latter had become a kind of ideographic alphabet...The justification for Blake's kind of dehydrated epic is a simple matter of literary honesty. Poems must take their own forms, and these precipitates of meaning are the form which poetry takes in Blake's crystallizing mind. An epic of such form cannot be expanded: it can only be padded, and padding is immoral...Blake's epics are brief enough to be examined plastically, reread so that their structural unity emerges along with their linear meaning, and as part of it. The beauty of Jerusalem is the beauty of intense concentration." 

Milton, Plate 2, (E 98)

"If you account it Wisdom when you are angry to be silent, and
Not to shew it: I do not account that Wisdom but Folly.
Every Mans Wisdom is peculiar to his own Individuality
O Satan my youngest born, art thou not Prince of the Starry Hosts
And of the Wheels of Heaven, to turn the Mills day & night?  
Art thou not Newtons Pantocrator weaving the Woof of Locke
To Mortals thy Mills seem every thing & the Harrow of Shaddai
A scheme of Human conduct invisible & incomprehensible
Get to thy Labours at the Mills & leave me to my wrath,

Satan was going to reply, but Los roll'd his loud thunders.   

Anger me not! thou canst not drive the Harrow in pitys paths.
Thy Work is Eternal Death, with Mills & Ovens & Cauldrons.
Trouble me no more. thou canst not have Eternal Life

So Los spoke! Satan trembling obeyd weeping along the way.
Mark well my words, they are of your eternal Salvation"      

SIXFOLD EMANATION

New York Public Library

Milton

Plate 44

Early in Blake's book Milton, the poet Milton explains that the reason for his unhappiness in heaven was the torment of his Sixfold Emanation scattered in the deep.    

Milton, Plate 2, (E 96)

"Say first! what mov'd Milton, who walkd about in Eternity
One hundred years, pondring the intricate mazes of Providence
Unhappy tho in heav'n, he obey'd, he murmur'd not. he was silent
Viewing his Sixfold Emanation scatter'd thro' the deep
In torment! To go into the deep her to redeem & himself perish?"

When Milton descended to Ulro to find that part of himself which is represented 
by Ololon, his journey was noticed by the Divine Family who remain Everywhere 
Forever. Jesus and Ololon united initiating Ololon's lament for Milton who had been 
driven into Ulro.

Milton, Plate 21 (E 115)

"So spake the Family Divine as One Man even Jesus
Uniting in One with Ololon & the appearance of One Man
Jesus the Saviour appeard coming in the Clouds of Ololon!        

Milton, Plate 22 [24], (E 116)
"Tho driven away with the Seven Starry Ones into the Ulro
Yet the Divine Vision remains Every-where For-ever. Amen.
And Ololon lamented for Milton with a great lamentation.

While Los heard indistinct in fear, what time I bound my sandals
On; to walk forward thro' Eternity, Los descended to me:         
And Los behind me stood; a terrible flaming Sun: just close" 

The Sixfold Female who is an aspect of Ololon perceived that Milton has entered 
Ulro to redeem his Female Shade. She responded by acknowledging that she must 
be continually redeemed by death and misery of those she loves and by annihilation.
Milton's annihilation of his selfhood resulted in her redemption.

Milton, Plate 33 [36], (E 132)

"And the Divine Voice was heard in the Songs of Beulah Saying     

When I first Married you, I gave you all my whole Soul
I thought that you would love my loves & joy in my delights
Seeking for pleasures in my pleasures O Daughter of Babylon
Then thou wast lovely, mild & gentle. now thou art terrible      
In jealousy & unlovely in my sight, because thou hast cruelly
Cut off my loves in fury till I have no love left for thee
Thy love depends on him thou lovest & on his dear loves
Depend thy pleasures which thou hast cut off by jealousy
Therefore I shew my jealousy  & set  before you Death.     
Behold Milton descended to Redeem the Female Shade

From Death Eternal; such your lot, to be continually Redeem'd
By death & misery of those you love & by Annihilation
When the Sixfold Female percieves that Milton annihilates
Himself: that seeing all his loves by her cut off: he leaves     
Her also: intirely abstracting himself from Female loves
She shall relent in fear of death: She shall begin to give
Her maidens to her husband: delighting in his delight"
Ololon acknowledged that She and Milton are contraries. 
Milton, Plate 41 [48], (E 142) 

"These are the Sexual Garments, the Abomination of Desolation
Hiding the Human lineaments as with an Ark & Curtains

Which Jesus rent: & now shall wholly purge away with Fire
Till Generation is swallowd up in Regeneration.

Then trembled the Virgin Ololon & replyd in clouds of despair

Is this our Feminine Portion the Six-fold Miltonic Female      
Terribly this Portion trembles before thee O awful Man
Altho' our Human Power can sustain the severe contentions
Of Friendship, our Sexual cannot: but flies into the Ulro.
Hence arose all our terrors in Eternity! & now remembrance
Returns upon us! are we Contraries O Milton, Thou & I            
O Immortal! how were we led to War the Wars of Death
Is this the Void Outside of Existence, which if enterd into
Plate 42 [49]              
Becomes a Womb? & is this the Death Couch of Albion
Thou goest to Eternal Death & all must go with thee

So saying, the Virgin divided Six-fold & with a shriek
Dolorous that ran thro all Creation a Double Six-fold Wonder!
Away from Ololon she divided & fled into the depths              
Of Miltons Shadow as a Dove upon the stormy Sea.

Then as a Moony Ark Ololon descended to Felphams Vale
In clouds of blood, in streams of gore, with dreadful thunderings
Into the Fires of Intellect that rejoic'd in Felphams Vale
Around the Starry Eight: with one accord the Starry Eight became 
One Man Jesus the Saviour. wonderful! round his limbs
The Clouds of Ololon folded as a Garment dipped in blood
Written within & without in woven letters: & the Writing
Is the Divine Revelation in the Litteral expression:
A Garment of War, I heard it namd the Woof of Six Thousand Years 

In the book Jerusalem Los explained the critical difference between contraieties and 
negations.
Jerusalem, Plate 17, (E 162)

[Los spoke]
"Negations are not Contraries: Contraries mutually Exist:
But Negations Exist Not: Exceptions & Objections & Unbeliefs
Exist not: nor shall they ever be Organized for ever & ever:     
If thou separate from me, thou art a Negation: a meer
Reasoning & Derogation from Me, an Objecting & cruel Spite
And Malice & Envy: but my Emanation, Alas! will become
My Contrary: O thou Negation, I will continually compell
Thee to be invisible to any but whom I please, & when            
And where & how I please, and never! never! shalt thou be Organized
But as a distorted & reversed Reflexion in the Darkness
And in the Non Entity: nor shall that which is above
Ever descend into thee: but thou shalt be a Non Entity for ever"

Jerusalem, Plate 48, (E 196)

"Eternity groan'd. & was troubled, at the image of Eternal Death!

Beneath the bottoms of the Graves, which is Earths central joint,
There is a place where Contrarieties are equally true:
(To protect from the Giant blows in the sports of intellect,     
Thunder in the midst of kindness, & love that kills its beloved:
Because Death is for a period, and they renew tenfold.)
From this sweet Place Maternal Love awoke Jerusalem 
With pangs she forsook Beulah's pleasant lovely shadowy Universe
Where no dispute can come; created for those who Sleep."  
In his book William Blake,  Martin K Nurmi writes:
"A final confrontation between Milton and Satan occurs, in which Milton, now free 
from  any Satanic influence, can vigorously reject Satan even though Satan insists 
he is God  as in effect he has been. Ololon, meeting Milton now, recognizes that 
she, as his  feminine counterpart, is his creative contrary, and her satanic aspect, 
represented as  self-seeking femaleness called 'virginity', departs." (Page 156) 
 

MILTON/OLOLON/LOS

First posted Sept 2019

New York Public Library
Milton
Plate 43

Essays for S. Foster Damon edited by Alvin H. Rosenfeld includes a chapter by Harold Fisch titled Blake's Miltonic Moment. On page 44 Fisch associates the spiritual event in Blake's life in which he grasped the fullness of the living presence of the Imagination within him was mediated to him through Milton. We  read:

"Los...is the spirit of prophecy which spoke through Elijah and Ezekiel; and if with him the biblical dimension is introduced in its fullness in Blake's poetry, it should be added that it is Milton who presides over this transformation. Milton is the inspired biblical poet of an age of faith who had wedded poetry to the inspiration of the Bible. And so Los becomes the spirit of biblical poetry; with his arrival of Eden and Jerusalem become major symbols. The new phase of Blake's poetry beginning with the later additions of The Four Zoas and reaching its fullness in Milton and Jerusalem is thus in a most particular degree biblical, and the agent of the transformation is Milton. We can watch the actual dynamics of the process, Los, busy creating the world and governing it through time to its predestined conclusion, looks around for a means of redeeming the enchained Orc (that is the stifled spirit of revolution). In Plate 20 of Milton that means is discovered:

Milton, Plate 20, (E 115)
'He recollected an old Prophecy in Eden recorded,
And often sung to the loud harp at the immortal feasts
That Milton of the Land of Albion should up ascend
Forwards from Ulro from the Vale of Felpham; and set free
Orc from his Chain of Jealousy'

Here the epiphany is precisely located and its nature defined. Milton is the prophet of England-Albion, but his arrival is prophesied in Eden, that is it is biblically motivated and directed. The transforming moment occurs, we are told, in the Vale of Felpham, that is between 1800 and 1803, and its outcome will be the freeing of Orc from his Chain, that is to say, the giving of new direction to the perverted spirit of Revolution now disclosed to be the ugliness of the Napoleonic era in France and the parallel manifestation in the England of Pitt and George III.

The fundamental value of Milton's spiritual achievement to Blake then was that he enabled him to relate the temporal, political reality to the biblical."    

That reconciliation of his use of imagination in interpreting biblical history with using imagination to understand of the revolutionary events of the Seventeenth and Eighteenth centuries became for Blake the key to entering a new stage of spiritual development. He associated his breakthrough with having assimilated the progress Milton had made in freeing himself from the constraints imposed by his religious and political affiliations. Blake represented his transformation as having occurred through Milton entering his foot. The implication is that Blake's imagination was enlarged not through some grand revelation but through a humble response resulting from living with Milton's physical experiences and mental achievements.

Plate 43 represents the culmination of Blake's incorporating what Milton gave him. Blake is pictured not with his mentor Milton but with Los 'in that fierce glowing fire.'

Letters, To Thomas Butts, Enclosed Poem, (E 721)
"Then Los appeard in all his power
In the Sun he appeard descending before
My face in fierce flames in my double sight
Twas outward a Sun: inward Los in his might" 

Blake's Imagination was not longer clouded by doubt or fear; the prophetic voice which spoke through Ezekiel spoke through him as well.  

Ezekiel 8
[1] And it came to pass in the sixth year, in the sixth month, in the fifth day of the month, as I sat in mine house, and the elders of Judah sat before me, that the hand of the Lord GOD fell there upon me.
[2] Then I beheld, and lo a likeness as the appearance of fire: from the appearance of his loins even downward, fire; and from his loins even upward, as the appearance of brightness, as the colour of amber.
[3] And he put forth the form of an hand, and took me by a lock of mine head; and the spirit lifted me up between the earth and the heaven, and brought me in the visions of God to Jerusalem, to the door of the inner gate that looketh toward the north; where was the seat of the image of jealousy, which provoketh to jealousy.
[4] And, behold, the glory of the God of Israel was there, according to the vision that I saw in the plain.

Milton, Plate 21, [23] (E 115)
"And down descended into Udan-Adan; it was night:
And Satan sat sleeping upon his Couch in Udan-Adan:
His Spectre slept, his Shadow woke; when one sleeps th'other wakes

But Milton entering my Foot; I saw in the nether
Regions of the Imagination; also all men on Earth,              
And all in Heaven, saw in the nether regions of the Imagination
In Ulro beneath Beulah, the vast breach of Miltons descent.
But I knew not that it was Milton, for man cannot know
What passes in his members till periods of Space & Time
Reveal the secrets of Eternity: for more extensive              
Than any other earthly things, are Mans earthly lineaments.

And all this Vegetable World appeard on my left Foot,
As a bright sandal formd immortal of precious stones & gold:
I stooped down & bound it on to walk forward thro' Eternity.
...
Seven mornings Los heard them, as the poor bird within the shell

Hears its impatient parent bird; and Enitharmon heard them:
But saw them not, for the blue Mundane Shell inclosd them in.   

And they lamented that they had in wrath & fury & fire
Driven Milton into the Ulro; for now they knew too late
That it was Milton the Awakener: they had not heard the Bard,
Whose song calld Milton to the attempt; and Los heard these laments.
He heard them call in prayer all the Divine Family;             
And he beheld the Cloud of Milton stretching over Europe.

But all the Family Divine collected as Four Suns
In the Four Points of heaven East, West & North & South
Enlarging and enlarging till their Disks approachd each other;
And when they touch'd closed together Southward in One Sun      
Over Ololon: and as One Man, who weeps over his brother,
In a dark tomb, so all the Family Divine. wept over Ololon.

Saying, Milton goes to Eternal Death! so saying, they groan'd in spirit
And were troubled! and again the Divine Family groaned in spirit!"

Milton, Plate 22 [24], (E 116)
"Tho driven away with the Seven Starry Ones into the Ulro
Yet the Divine Vision remains Every-where For-ever. Amen.
And Ololon lamented for Milton with a great lamentation.

While Los heard indistinct in fear, what time I bound my sandals
On; to walk forward thro' Eternity, Los descended to me:        
And Los behind me stood; a terrible flaming Sun: just close
Behind my back; I turned round in terror, and behold.
Los stood in that fierce glowing fire; & he also  stoop'd down
And bound my sandals on in Udan-Adan; trembling I stood
Exceedingly with fear & terror, standing in the Vale            
Of Lambeth: but he kissed me and wishd me health.
And I became One  Man  with  him  arising in my strength:
Twas too late now to recede. Los had enterd into my soul:

His terrors now posses'd me whole! I arose in fury & strength." 

OLOLON

First posted July 2010 

In Plate 31 of Milton, a contrast is seen between the way things appear in the fallen world and in the unfallen world. The first paragraph quoted below concerns Satan and Rahab, Generation, Kingdoms of the Earth, War and Strife. All of the Living Creatures of the Four Elements are wailing in bitter lament. They weep because "they see the Lord coming in the Clouds of Ololon with Power & Great Glory!"

Beulah is said to weep also, but the lamentation of Beulah is seen as a vision the greatest beauty, joy and hope. The eyes of vision see the loveliest things of the natural world as expressing the culmination which will result from Ololon's sacrificial descent following Milton in his return to the world of matter.

The world of suffering, war, and strife should welcome the prospect of the Lord's arrival, for it will initiate the world of love, and peace and brotherhood. But it is not so. First an open mind, a receptive heart, a gentle hand, and an intuitive soul must grow in man. The vision cannot appear until we have prepared ourselves for it.

Milton, Plate 31 [34], (E 130)
"And all the Living Creatures of the Four Elements, wail'd
With bitter wailing: these in the aggregate are named Satan
And Rahab: they know not of Regeneration, but only of Generation
The Fairies, Nymphs, Gnomes & Genii of the Four Elements
Unforgiving & unalterable: these cannot be Regenerated
But must be Created, for they know only of Generation
These are the Gods of the Kingdoms of the Earth: in contrarious
And cruel opposition: Element against Element, opposed in War
Not Mental, as the Wars of Eternity, but a Corporeal Strife
In Los's Halls continual labouring in the Furnaces of Golgonooza
Orc howls on the Atlantic: Enitharmon trembles: All Beulah weeps

Thou hearest the Nightingale begin the Song of Spring;
The Lark sitting upon his earthy bed: just as the morn
Appears; listens silent; then springing from the waving
Corn-field! loud
He leads the Choir of Day! trill, trill, trill, trill,
Mounting upon the wings of light into the Great Expanse:
Reecchoing against the lovely blue & shining heavenly Shell:
His little throat labours with inspiration; every feather
On throat & breast & wings vibrates with the effluence Divine
All Nature listens silent to him & the awful Sun
Stands still upon the Mountain looking on this little Bird

With eyes of soft humility, & wonder love & awe.
Then loud from their green covert all the Birds begin their Song
The Thrush, the Linnet & the Goldfinch, Robin & the Wren
Awake the Sun from his sweet reverie upon the Mountain:
The Nightingale again assays his song, & thro the day,
And thro the night warbles luxuriant; every Bird of Song
Attending his loud harmony with admiration & love.
This is a Vision of the lamentation of Beulah over Ololon!

Thou percievest the Flowers put forth their precious Odours!
And none can tell how from so small a center comes such sweets
Forgetting that within that Center Eternity expands
Its ever during doors, that Og & Anak fiercely guard[.]
First eer the morning breaks joy opens in the flowery bosoms
Joy even to tears, which the Sun rising dries; first the Wild Thyme
And Meadow-sweet downy & soft waving among the reeds.
Light springing on the air lead the sweet Dance: they wake
The Honeysuckle sleeping on the Oak: the flaunting beauty
Revels along upon the wind; the White-thorn lovely May
Opens her many lovely eyes: listening the Rose still sleeps
None dare to wake her. soon she bursts her crimson curtaind bed
And comes forth in the majesty of beauty; every Flower:
The Pink, the Jessamine, the Wall-flower, the Carnation
The Jonquil, the mild Lilly opes her heavens! every Tree,
And Flower & Herb soon fill the air with an innumerable Dance
Yet all in order sweet & lovely, Men are sick with Love!
Such is a Vision of the lamentation of Beulah over Ololon"

Advice from the apostle Paul:
Philippians
4:6-7 - Don't worry over anything whatever; tell God every detail of your needs in earnest and thankful prayer, and the peace of God which transcends human understanding, will keep constant guard over your hearts and minds as they rest in Christ Jesus.
4:8-9 - Here is a last piece of advice. If you believe in goodness and if you value the approval of God, fix your minds on the things which are holy and right and pure and beautiful and good. Model your conduct on what you have learned from me, on what I have told you and shown you, and you will find the God of peace will be with you.

J. B. Phillips translation of the New Testament

MILTON & SELFHOOD

Library of Congress

Milton

Copy D, Plate 45

The process of annihilating the Selfhood runs throughout Blake's Milton. The Selfhood may be thought of as wrong-thinking or misconception. Each individual is seceptable to misconstruing his experience, of failing to understand others, of rejecting God, of failing to recognize minute particulars.  Blake knew he had to be aware of his own Selfhood in order to know what could be annihilated in Milton: he turned inward to deal with his own Selfhood. 

In the early part of Jerusalem Blake explicitly called upon the Saviour to annihiate his Selfhood in order that his hand may be guided to open the eyes of man to Eternity.

Jerusalem, Plate 5, (E 147) 
"Trembling I sit day and night, my friends are astonish'd at me. 
Yet they forgive my wanderings, I rest not from my great task! 
To open the Eternal Worlds, to open the immortal Eyes
Of Man inwards into the Worlds of Thought: into Eternity
Ever expanding in the Bosom of God. the Human Imagination        
O Saviour pour upon me thy Spirit of meekness & love:
Annihilate the Selfhood in me, be thou all my life!
Guide thou my hand which trembles exceedingly upon the rock of ages,
While I write of the building of Golgonooza, & of the terrors of Entuthon:
Of Hand & Hyle & Coban, of Kwantok, Peachey, Brereton, Slayd & Hutton:
Of the terrible sons & daughters of Albion. and their Generations."
Milton, Plate 14 [15], (E 108) 
"I will go down to self annihilation and eternal death,
Lest the Last Judgment come & find me unannihilate 
And I be siez'd & giv'n into the hands of my own Selfhood
...
What do I here before the Judgment? without my Emanation?
With the daughters of memory, & not with the daughters of ispiration
I in my Selfhood am that Satan: I am that Evil One! 
He is my Spectre! in my obedience to loose him from my Hells
To claim the Hells, my Furnaces, I go to Eternal Death."

Milton, Plate 32 [35], (E 135)

"Distinguish therefore States from Individuals in those States.
States Change: but Individual Identities never change nor cease:
You cannot go to Eternal Death in that which can never Die.
Satan & Adam are States Created into Twenty-seven Churches       
And thou O Milton art a State about to be Created
Called Eternal Annihilation that none but the Living shall
Dare to enter: & they shall enter triumphant over Death
And Hell & the Grave! States that are not, but ah! Seem to be.
Judge then of thy Own Self: thy Eternal Lineaments explore       
What is Eternal & what Changeable? & what Annihilable!

The Imagination is not a State: it is the Human Existence itself
Affection or Love becomes a State, when divided from Imagination
The Memory is a State always, & the Reason is a State
Created to be Annihilated & a new Ratio Created                  
Whatever can be Created can be Annihilated Forms cannot"
Milton, Plate 32 [35], (E 131)                     

"And Milton oft sat up on the Couch of Death & oft conversed
In vision & dream beatific with the Seven Angels of the Presence
...
And thou O Milton art a State about to be Created
Called Eternal Annihilation that none but the Living shall
Dare to enter: & they shall enter triumphant over Death
And Hell & the Grave! States that are not, but ah! Seem to be.

Judge then of thy Own Self: thy Eternal Lineaments explore       
What is Eternal & what Changeable? & what Annihilable!

The Imagination is not a State: it is the Human Existence itself"
Milton, Plate 33 [36], (E 132)

"Behold Milton descended to Redeem the Female Shade
From Death Eternal; such your lot, to be continually Redeem'd
By death & misery of those you love & by Annihilation
When the Sixfold Female percieves that Milton annihilates
Himself: that seeing all his loves by her cut off: he leaves     
Her also: intirely abstracting himself from Female loves
She shall relent in fear of death: She shall begin to give
Her maidens to her husband: delighting in his delight
And then & then alone begins the happy Female joy
As it is done in Beulah, & thou O Virgin Babylon Mother of Whoredoms
Shalt bring Jerusalem in thine arms in the night watches; and
No longer turning her a wandering Harlot in the streets
Shalt give her into the arms of God your Lord & Husband.

Such are the Songs of Beulah in the Lamentations of Ololon"

Milton, Plate 38 [43], (E 139)

"In the Eastern porch of Satans Universe Milton stood & said

Satan! my Spectre! I know my power thee to annihilate
And be a greater in thy place, & be thy Tabernacle               
A covering for thee to do thy will, till one greater comes
And smites me as I smote thee & becomes my covering.
Such are the Laws of thy false Heavns! but Laws of Eternity
Are not such: know thou: I come to Self Annihilation
Such are the Laws of Eternity that each shall mutually     
Annihilate himself for others good, as I for thee[.]
Thy purpose & the purpose of thy Priests & of thy Churches
Is to impress on men the fear of death; to teach
Trembling & fear, terror, constriction; abject selfishness
Mine is to teach Men to despise death & to go on            
In fearless majesty annihilating Self, laughing to scorn
Thy Laws & terrors, shaking down thy Synagogues as webs
I come to discover before Heavn & Hell the Self righteousness
In all its Hypocritic turpitude, opening to every eye
These wonders of Satans holiness shewing to the Earth     
The Idol Virtues of the Natural Heart, & Satans Seat
Explore in all its Selfish Natural Virtue & put off
In Self annihilation all that is not of God alone:
To put off Self & all I have ever & ever Amen

Satan heard! Coming in a cloud, with trumpets & flaming fire     

Saying I am God the judge of all, the living & the dead
Fall therefore down & worship me. submit thy supreme
Dictate, to my eternal Will & to my dictate bow

I hold the Balances of Right & Just & mine the Sword
Seven Angels bear my Name & in those Seven I appear             
But I alone am God & I alone in Heavn & Earth
Of all that live dare utter this, others tremble & bow"

Milton, Plate 40 [46], (E 141)

"Before Ololon Milton stood & percievd the Eternal Form
Of that mild Vision; wondrous were their acts by me unknown
Except remotely; and I heard Ololon say to Milton

I see thee strive upon the Brooks of Arnon. there a dread
And awful Man I see, oercoverd with the mantle of years.   
I behold Los & Urizen. I behold Orc & Tharmas;
The Four Zoa's of Albion & thy Spirit with them striving
In Self annihilation giving thy life to thy enemies
Are those who contemn Religion & seek to annihilate it
Become in their Feminine portions the causes & promoters       
Of these Religions, how is this thing? this Newtonian Phantasm
This Voltaire & Rousseau: this Hume & Gibbon & Bolingbroke
This Natural Religion! this impossible absurdity
Is Ololon the cause of this? O where shall I hide my face
These tears fall for the little-ones: the Children of Jerusalem  
Lest they be annihilated in thy annihilation.

Milton, Plate 40 [46], (E 142)

"But turning toward Ololon in terrible majesty Milton
Replied. Obey thou the Words of the Inspired Man
All that can be annihilated must be annihilated 

That the Children of Jerusalem may be saved from slavery
There is a Negation, & there is a Contrary
The Negation must be destroyd to redeem the Contraries
The Negation is the Spectre; the Reasoning Power in Man
This is a false Body: an Incrustation over my Immortal           
Spirit; a Selfhood, which must be put off & annihilated alway
To cleanse the Face of my Spirit by Self-examination.

Milton, Plate 41 [48], (E 142)
"To bathe in the Waters of Life; to wash off the Not Human
I come in Self-annihilation & the grandeur of Inspiration
To cast off Rational Demonstration by Faith in the Saviour
To cast off the rotten rags of Memory by Inspiration
To cast off Bacon, Locke & Newton from Albions covering          
To take off his filthy garments, & clothe him with Imagination
To cast aside from Poetry, all that is not Inspiration"                          

New York Public Library

Milton

Plate 15

To Annihilate the Selfhood of Deceit & False

Forgiveness

MILTON & URIZEN

New York Public Library

Milton

Plate 29

One of the difficulties is reading Blake's Milton is processing multiple events simultaneously. Blake recognized that he couldn't communicate all that he had to say by writing in a linear fashion. Each character experienced situations differently and reacted according to his individual nature. Instead of following his characters chronologically he wrote as if events experienced by one character affected others as well.

As Milton traveled he encountered Urizen who attemped to alters his brain with the icy water of rigid rules of conventional thought. Milton responded by exposing Urizen to living in a human body. The result of these efforts seems to be have been creating a consciousness of the disorded functioning of the fourfold psyche.  Milton continued his journey toward the world of Los and Enithanmon who sought to build Golgonooza, the world of Art and Industry. Urizen continued to atttack Milton's efforts.

When Milton reaches his destination Blake perceived Milton's entry into the material world coming directly to the tarsus of his own left foot. Blake accepted the falling star as the arrival of Milton and with the assistence of Los bound to his foot all the vegetable world to "walk forward thro' Eternity." Blake - the  Human Poet, Milton - the Immotal Soul, and Los - the Creative Imagination were joined together to resolve all conflicts and divisions.

 

Milton, Plate 18 [20],  (E 112)

"Urizen emerged from his Rocky Form & from his Snows

Plate 19 [21]

And he also darkend his brows: freezing dark rocks between
The footsteps. and infixing deep the feet in marble beds:
That Milton labourd with his journey, & his feet bled sore
Upon the clay now chang'd to marble; also Urizen rose,
And met him on the shores of Arnon; & by the streams of the brooks    

Silent they met, and silent strove among the streams, of Arnon
Even to Mahanaim, when with cold hand Urizen stoop'd down
And took up water from the river Jordan: pouring on
To Miltons brain the icy fluid from his broad cold palm.
But Milton took of the red clay of Succoth, moulding it with care
Between his palms: and filling up the furrows of many years
Beginning at the feet of Urizen, and on the bones
Creating new flesh on the Demon cold, and building him,
As with new clay a Human form in the Valley of Beth Peor.

Four Universes round the Mundane Egg remain Chaotic    
One to the North, named Urthona: One to the South, named Urizen:
One to the East, named Luvah: One to the West, named Tharmas
They are the Four Zoa's that stood around the Throne Divine!
But when Luvah assum'd the World of Urizen to the South:
And Albion was slain upon his  mountains, & in his tent;     
All fell towards the Center in dire ruin, sinking down.
And in the South remains a burning fire; in the East a void.

In the West, a world of raging waters; in the North a solid,
Unfathomable! without end. But in the midst of these,
Is built eternally the Universe of Los and Enitharmon:       
Towards which Milton went, but Urizen oppos'd his path.

The Man and Demon strove many periods." 

Milton, Plate 20 [22], (E 113)

"And let us bind thee in the bands of War & be thou King          
Of Canaan and reign in Hazor where the Twelve Tribes meet.

So spoke they as in one voice! Silent Milton stood before
The darkend Urizen; as the sculptor silent stands before
His forming image; he walks round it patient labouring.
Thus Milton stood forming bright Urizen, while his Mortal part   
Sat frozen in the rock of Horeb: and his Redeemed portion,
Thus form'd the Clay of Urizen; but within that portion
His real Human walkd above in power and majesty
Tho darkend; and the Seven Angels of the Presence attended him.

O how can I with my gross tongue that cleaveth to the dust,      
Tell of the Four-fold Man, in starry numbers fitly orderd
Or how can I with my cold hand of clay! But thou O Lord
Do with me as thou wilt! for I am nothing, and vanity.
If thou chuse to elect a worm, it shall remove the mountains.
For that portion namd the Elect: the Spectrous body of Milton:   
Redounding from my left foot into Los's Mundane space,
Brooded over his Body in Horeb against the Resurrection
Preparing it for the Great Consummation; red the Cherub on Sinai
Glow'd; but in terrors folded round his clouds of blood.

Now Albions sleeping Humanity began to turn upon his Couch;      
Feeling the electric flame of Miltons awful precipitate descent."

Milton, Plate 15 [17], (E 110)

"Milton bent down
To the bosom of death, what was underneath soon seemd above.
A cloudy heaven mingled with stormy seas in loudest ruin;
But as a wintry globe descends precipitant thro' Beulah bursting,
With thunders loud and terrible: so Miltons shadow fell        
Precipitant loud thundring into the Sea of Time & Space.

Then first I saw him in the Zenith as a falling star,
Descending perpendicular, swift as the swallow or swift;
And on my left foot falling on the tarsus, enterd there;
But from my left foot a black cloud redounding spread over Europe.          

Then Milton knew that the Three Heavens of Beulah were beheld
By him on earth in his bright pilgrimage of sixty years"  

Fearful Symmetry, by Northrop Frye, Page 337:

"Milton's journey to the fallen world, or part of it, repeats the journey of Moses through the wilderness to the boundaries of the Promised Land, and like Moses, he fails to cross the Jordan and enter Cannan though all the forces of evil coax him to do so. Moses, Palamabron, Milton and Blake (and as far as possible Hayley) all belong to the "Redeemed" class which has to be separared from the Satanic element within it. As such, Milton is what we may loosely be called a Puritan: he is a mixture of Christian vision with the sterility of moral virtue and rationalism...Only Los sees the signifiance of the return. Los sees that Milton must be on his way to reinforce, not the Deists, but the visionaries who have inherited the other half of Puritanism, its belief in the civilizing Word of God; that Deism is a consolidation of error,  and that Milton's return is consequently a sign "the time is at hand," as the New testament says. So Los allows Milton to pass into the world, Milton enters Blake's "left foot," Blake stoops down and binds the material world as a sandal on that foot, and unites with Los, the spiritual form of time. This union completes the recreation of Milton's vision." 

Mark 1

[13] And he was there in the wilderness forty days, tempted of Satan; and was with the wild beasts; and the angels ministered unto him.
[14] Now after that John was put in prison, Jesus came into Galilee, preaching the gospel of the kingdom of God,
[15] And saying, The time is fulfilled, and the kingdom of God is at hand: repent ye, and believe the gospel.