How much time it all takes? Blake really stayed with it. The proof is edited and sent back. The process is well worth it. From beginning to end.

The politics of democracy seem to have died in Europe.

A new dark ages seems about to have returned...the medieval days of darkness when Europe 'went inquisition' and the torches went out save for human torches. recidivism rules and the reforms of Vat II are reformed out, and as with all recidivism we do not return to the reform, but to the generation before the generation of reform. Back two generations to reform the reform out. Everything is silent save the strident shriek of the banking status quo and the shuffle of the votes of the feet. The 1930's dictators and fusions of sectarian state funding and feudal capitalism. The concordats.

The word democracy has died. Just the sound fades away.....Freedom fries....

Two books now are made available. ...namely, Shakespeare's Heir and The Four Zoas...the first is about 290 pages and the other about 500 pages.

I have had several requests and can only say that orders and the books will be available very soon. The site re-designed and made user friendly too.

The first proof of Shakespeare's Heir is edited and corrected. From an introduction to the study of The Four Zoas (which needs to be put in print, not just published virtually) a new book evolved quite naturally.

A fresh canon of information to settle Blake's multi-linear narrative is offered, and it is promised...without the relentless perjoratives of Ault/Dortort and the school of post-modern ambiguities. I'm astonished at their view of how poor a poet is Blake, so here is a bit of a response...in favour of Blake the poet.
......................................



the classical model of the logical positivists and the pure grammar of the computer language and grammar models sit happily with the syntax of aspect ratio and lighting in the grammar of film...so where's the grammatical problem in Blake that so overwhelms the post-modern Blake critic?

literary response is always a unity in the mind of the reader...the idea of author is always a idea of self-reflected attitude...an attitude in process ...and not an algorithmic procession but an information quanta....there is nothing consistent about reading or imagining, or listening/watching to the 'someone else's words' of it, in self-contradiction, halts, runs, staggers, pleasure, rage, love, enlightenment and moments of silence: in short, an infinity of response...and there are other things to do all the time...like listening to music at the same time or visual silent noise...of course it is always a temporary 'withiness' of fragments/identity in dialogue...and it involves the whole person however fragmentary that wholeness seems...To engage in this wholeness of process is one reason why Blake wrote....in conventional concepts its a philosophy, a zen or a yoga or even a mythology....we use what words we can and as Bahktin put it most of our words are someone else's anyway....



You can't read Blake exclusively in the light of modern grammatical usage and help your self to much in the way of meaningfulness.


Enjoy the books, if you like Blake you will enjoy these books...Shakespeare's Heir being the most readable, and the other two books are detailed studies available for in depth clarification

Shakespear's Heir

THE WILLIAM BLAKE PRESS CAMBRIDGE

The book is freshly titled and is the proof/PDF sent.

Title:

SHAKESPEARES' S HEIR: BLAKE'S DOORS OF PERCEPTION IN THE FOUR ZOAS AND JERUSALEM. 267 PAGES.

It should be available from Amazon in a few weeks now.

There's a clear description of the hyper/text/novel from i adopted to experiment with the richness within Blake...Albion is like a body, and the story of the energies within is the story of the epics...the line-by-line methodology links every line to every other...so it's 'virtually......' for the nitpickers...

De Luca described Jerusalem as a 'wall of words'...that should be dissipated, eased out of perceptual striations in a movement from any passage to any other....Blake's phrasing... his poetry surfaces out of our earlier failed perceptions...

Blake's grammar is discussed...there's work to do here in the publication of the transcription i did for Jerusalem Explained...

and i'm going to call the book on the zoas its original thesis title...Structure as a Key to Meaning in William Blake's the Four Zoas...its long, but it's the right title.

non-linear and the hypertext novel

An image from Jerusalem Explained........

.........................................................................Multi-linear symmetries are like a rope made of four strands...... you can do lots of things, make fabric, ropes, mats, sculptures, baskets, sail ships with it...its still a four stranded rope...you can even coil it in a basket and think it a snake like Buddha's maya ...think of Jerusalem as a four-fold multi-linear epic...each level of vision is like a strand in the four-fold rope........................


there is a term 'non-linear' used as a meta-form for the novel...Shelley Jackson's Patchwork Girl...it has structure analagous similar to that of Jerusalem Explained...

In Shelley Jackson's work, entirely on hypertext, Mary Shelley rebuilds a second monster that Frankenstein stopped making, she's female and they become lovers...the novel traces the stories of the different humans who contributed bits and pieces....each bit, eyes, hands mouth etc of the monster has its old owner's history...

That's the structure and it can be started anywhere and be followed anywhere...it is a hypertext novel

Blake is a multi-media artist, obviously not virtual, through, through the web, the new virtual Blake allows a the possibility of an hypertext approach. ...The Blake Archive allows so much more than the paucity of illumination available to earlier critics.

This edition of Jerusalem sees Albion as composed of the bits and pieces of his inner energies..Blake calls them zoas and emanations and sons and daughters etc...everything eventually has its own minute particular story and the story of them all is told in a four level multi-linear narrative....four-fold, three-fold, two-fold and one-fold.

Jerusalem Explained is designed to be read in a hyper/text/novel form ...not only is it a line by line analysis as it allows every line to be related to all other lines in an aesthetic whole...and it can and should be read as a linear narrative of four-levels of perception....BUT, also it can be read in an hyper/text/novel approach as you might read Shelley Jackson...begin anywhere and go anywhere.... it should always makes sense.... it is intended to be like a coffee/table/book...it can be read from any start, a reader can go anywhere, stop any time, flick through and start again... go virtually anywhere in any self-chosen route and the commentary will help unite the reading to the whole...and always it is Blake you are reading...closely savoring his poetry

It is the first such attempt in literary criticism I know of...and it depends entirely on the line-by-line-analysis and ten years of journeys in the 'oceans' of Blake Jerusalem and the computer as a means of liberating readers from the artificial stereotype of a-devoted-reader-who-can't-put-the-book-down....and likely don't pick it up again...or someone studying literature. This is written for real readers who start stop, start again, forget and repeat....and might takes minutes and minutes enjoying a line or two or an image...just the beauty.

The hyper/text/novel/ form is technically called a non-linear reading...but there can be no such thing literally...every reading is necessarily linear...so i call it a multi-linear reading....there is a causal narrative and clear authorial direction, and there is the always-true-reality that a reader stops whenever he or she feel likes it.

It opens Jerusalem up to personal encounters with Blake's poetry... otherwise Blake is just not so available...magnificent poetry laid over by the trowels of post-modern melancholic cynicism...

THE AMBIGUITIES OF AULT AND DORTORT ARE SHOWN AS RESOLVED...SOME EXAMPLES ....GIVEN LATER...........LATER BUT THE RESOLUTIONS ARE PRESENTED CLEARLY IN SHAKESPEARE'S HEIR

there seems to be a head on confrontation here...between Blake and the post-moderns and they are soooooooo very insulting...Ault and Dortort, ....they sound like a modern variant of that man Hunt in the 1809 exhibition who accused Blake of being mad ...only not locked up because he is harmless and it stuck with billy b...until his sanity was assured by the genius of Yeats, Ellis, Damon and Frye. ..... Hunt of course is famous only for this one 1809 attack on Blake.

There's been no significant change in terms of the poems structure since 1948...Ault and Dortort, Pierce and Otto all recapitulate Frye's three point conclusion...the poem begins in medias res, the myth is chaotic, and it founders on the apocalypse. The others just sing at the same song sheet...about both The Four Zoas and Jerusalem ...and call it ambigous...takes Derrida's continuous discontinuity and his view from Freud that the individual grammar of a dream transcends any archetypeal trace, and we have post-modernism.......the Frye Bloom brilliance and respect replaced by the failed poetic and self-subversion

???????????????................are we serious????????. did I miss a meeting???????????????????

Jerusalem Explained actually does give the work's four level multi-strand narrative and with its hyper/text/novel form, Blake poetry without fashist domination.

With the ambiguities resolved so are the criticisms resolved...there are always more...... poetry depends on ambiguity and the escape of words from the paradigmatic and syntagmatic controlling cold frenzies of semiotics......... criticism depends on the unambiguous

the up date: Shakespeare's Heir

Just an update

A significant development has taken place in the last two-three months...and major additions made to its content...the result is the book is now 250 odd pages and this will be available soon...being proof read as I write this. The book includes a reconstruction of the Second Blackfriars, (and revisits the work done in The Second Blackfriars: the Globe Indoors 1973).

The web site at present is being revised professionally and in a few weeks the three books should be put in a more visually pleasant site; that is

William Blake's Jerusalem Explained

William Blake's The Four Zoas Explained (could change)

Shakespeare's Heir: Blake's Doors of Perception in The Four Zoas and Jerusalem

Time and health.

Does a stereo system play non linear music? Or not?

Congratulations Dr Broglio. Your course Christ in an Orb (Night III: The Four Zoas) and its challenges seems to this retired academic to be inspiring.

It is the claim of non-linearity that concerns me...that's all...just the claims of this curious assertion as an aspect of literature, film, art and music...each are different.....To my mind, the claim needs to be placed in an 'epoche', Heidigger-style, in a closed intellectual micro-world. It can only be a metaphor, a bracket of suspended disbelief, to paraphrase Coleridge, that asks us to enter Blake's art and poetry. However, it remains the platform for some post modern literary philosophy and is presented as a serious alternative to the aesthetic coherence of a linear plot, or a causal event after event mythic flow with a beginning, a process of causality, and an ending. By contrast, what seems to be meant is a multi-linear text not a non-linear text.

Dr Broglio's discourse is worth extensively quoting/summarising to understand the pedagogy of MOO spaces and the discourse of the non-linear narrative. He seeks to present students with experiences of literature through electronic visual mediums, experiences of Blake especially, that:
1. seek to "link together disparate textual spaces together"...to "reconfigure" textuality and linear narrative.
2. In Broglio's view, Blake's presentation of "Eternity [is] marked by a deletion of knowledge, a forgetting of the non-knowing of origins in the attempt to establish a unified perceptual field".
3. He writes "Blake attempts to shatter this illusionary field through the convolution of narrative space/time in the opening of incommensurable spaces".
4. He claims the "narrative builds round the Lamb of God" and the "repeated fragmentation of Night VIII...[means] the transfer of Luvah's signs from Orc to the Lamb".
5. He asks we identify and study the "stabilization and destabilization of character" and the "construction of identity".
6. He sees the process of creative totalization as a "hallucination of desire on to the landscape"...for the "spaces resonate with their [the authors] visions"
7. He asks the students responses to show an "unrestricted engenderment of associated meanings"
8. He wants also that the "rational and linear stuctures of reading" become a "radical subjectivity capable of negociating destabilized narrative spaces" in which
9. critical understanding are seen as "shuttling between multiple discursive positions and modes of subjectivity".
10 Thus, that he writes a reader can "unbind" their "discourse" [into] "a subjectivity that recognises itself as an emanation, a spectre of the ideological forces acting upon it"

http://www.lcc.gatech.edu/-Broglio/eromantic/orbimg.htlm.

that's the web site for Ruegg and Broglio.

I think the issues raised seem dealt with in the books on this site...however, without presumptive pedagogical comment, in sequence 1-10, I think it shown:
1. there are no incommensurable spaces; eternity is not a forgetting.
2. That the perceptions of infinity are three-fold and four-fold in clear narrative levels
3. and that the illusionary fields are two-fold perceptions and are shattered as the two Limits are consumed, and, the 'hallucinations' of landscapes are usually poetic passages of transition between the four levels of narrative discourse.
4. Night VIII is not fragmented, see my The Four Zoas Explained...(the first full scale study of the poem and its stages of construction)...elsewhere in this web site... a summary is in the April 2007 blog entry below.... the textual study of the linked Night VI, Night VII(a) and Night VII(b), and Night VIII are specifically united by Blake in his third major stage of revision and in the fourth stage with his penciled late additions. The relations between Orc, Luvah and the Lamb of God are presented therein.
5. Blake's characterization is consistent and developmental. Each of Blake's figures is a dramatic identity and there is no character slippage. Exits and entrances are dramatically logical and coherently follow the event causality and poetry of transition, as is clearly outlined in Shakespeare's Heir.
6. No series of associations can be unrestricted, for the meanings are necessarily limited to the medium, deconstruction is a self-cleansing interactive activity. and, is Blake's self-proclaimed prophetic task and discourse context,
7. for, every creative effort is ultimately a unity, Blake know this and claims it prophetically true of his art, poetry and myth. His claims to structural clarity and literary excellence are justified and I have found (and shown) that he should be believed.
8. Destabilized spaces are simply unperceived movements between the four levels and
9. shuttling between them is absolutely necessary to understand that every creative effort in Blake major prophecies is interwoven by a four level multi-linear narrative in consciously crafted literary unity, as shown in the (first) line-by analysis of The Four Zoas in The Four Zoas Explained and in (also the first) line-by-line analysis of Jerusalem in Jerusalem Explained
10. Finally, the subjectivity of the reader is an "emanation", a "spectre" of "ideological forces acting upon" the person"...in a sense I agree, however, each term is specifically contextualised by Blake, and his prophetic discourse 'peels the spectre off' the multi-linear narrative dynamic and, since the prophet sees what ordinary people do not see but can, he reveals the symbols that creatively inspires psychic transformation. Blake's immense psychic value lies in his symbolic presentation of mind in dynamic engagement with the process of his narratives. Blake does bring his psychic encyclopediac myth to completion. Thus he creates a perceptually transformational imaginative achievement for an audience.

Further, always in Blake, 'emanation' is feminine and both infinite and finite, while 'spectre' is entirely male and finite (with the prophetic exception of the Spectre of Urthona) so the yoking of the two involves the interpenetration of both energies and multiple levels of narrative simultaneity, for example, the figures of Enitharmon and the Spectre of Urthona in Jerusalem Chapter 2, fleeing to the Sons of Eden from the blood-flood of Albion's interior collapse into generation, is a symbolic correlation of emanation and Spectre of Urthona in terms of Eden. As Los' Spectre the three-fold vision of an opened furnace liberates The Spectre of Urthon from the enclosed space/time of the Spectre of Luvah.

To understand the correlation we need to know the finite and infinite concomitant contexts of the poem as an aesthetic whole, with a clear grasp of essentials the very least of which involve a practical grasp of the integrated four levels of vision and their corresponding levels of discourse and 'signage'; of Albion and Jerusalem; Luvah and Vala in Chapter 2; Ulro, Generation, Eden and Beulah; Jesus within and without; and the poetry of transition between the four narrative parallels.

It is simply the claim of non-linearity that concerns me. I find this shown to be based on textually deficient methodologies. Blake's epics are multi-linear. His myth is not non-linear, nor is it mono-linear nor monological... In The Four Zoas I have shown we have stereo-textuality...
In an analogy, the two Nights VII are like music from two speakers that are different in source but are united in a third, not graphically or phonetically marked or written directly edifice of sound in the listener's aural imagination...To develop the analogy of music, in Jerusalem , as I have shown, we have 'quadrophonic textuality'... There are four discourse sources in four Chapters each of which is different in narrative process but one in a dynamic imaginative whole that in turn is NOT non-linear...it IS multi-linear. It is also worth noting that the reader will find there is an extraordinary remembering...everything is remembered claims Los...all in three-fold Golgonooza in dynamic, interactive vortices in three-fold sublime unity.

Thereby the audience become interactive individual source. Impenetrable complexity, the criticism most often reached, I feel is all too often is a product of frustrated comprehension for to express something simply it must be known in depth. Comprehension is the pathway to simplicity and Blake, once read properly, is a simple man and his poetry expresses simple truths of human interiority as a multi-linear harmonic of woven intertextualites, fragmentations and self-annhiliation, perceptual renewal, psychic reconnectedness and inner mutalities reconciled all strategies of psychic survival after severe trauma.

Blake advances us to reconfigure perceptual forms of psychic collapse and fragmentation, and unity and resolution. The Albion at the end of The Four Zoas and Jerusalem is NOT the Albion of the beginning of The Four Zoas and Jerusalem. Albion does not simply return to the beginning. Blake is not writing a cycle of descent and return out of and back to a state of innocent origin precisely because that signifies deterministic futility and, in his major prophecies, is the discourse universe of two-fold vision.

In the ways alleviation of ignorance alleviates suffering, great art heals and Blake heals. Simply by following the text, however fragmentary the experience initially, many people are moved into growth and self-revelation by interaction with Blake's art and poetry...and perhaps it is worth reminding ourselves that retreats into assertions of Blake's madness, or as now, the madness of Blake's texts, are alike examples of intellectual frustration even academic hubris... We find in book after book how in one way or another it is all Blake's fault...Is he impenetrable? To my mind this tacit admission of failed critical acumen may be because the critic has yet to read Blake clearly enough, and deeply enough...and having failed to see, finds Blake blind.

It is the audience that experiences pre-existent fragmentation and it is the audience, in individual participation in interactive psychic discourse, that build unique personal structures of healed vision when Blake's golden thread is followed.

Now, the spiritual journey of his prophetic multi-linear narrative can be seen NOT as incommensurable, impenetrable, plotless, destabilized, with no consistent characterization and without linear or even rational causality, BUT as brilliantly crafted epic adventures with consciously crafted plots of interlaced, multi-linear, narrative structure that binds each unit of meaning to all the other units of meaning in structural and narrative unity. Now we can take Blake's journey with a clearer grasp and share his levels of prophetic vision...and in a literary sense they become unique, multi-linear prophetic vision of individual perception.

linear, non-linear and multi-linear narrative in Blake

Linear and non-linear narrative in William Blake?

Hypertext...space...the new media...and multi-dimensional possibilities... MOO spaces and controls of information speed and multi-systemic constructions in art, literature and of course music... There was a conference 2009 at Goldsmith's College, june, financially supported by the Harold Pinter bequest...the aesthetics of transformational drama tends to be the experimental cutting edge of all the arts in my judgment... 'Beyond the linear narrative' the conference is proudly entitled, giving a date and linear timetable ... so I thought, how can we really talk meaningfully about a non-linear narrative simply because a text 'folds back on itself'... without linearity there can be no folding back of events into apparent discontinuity... or into dissolution and morphic re-manifestation.

........... and, folded linearity is simply time-folded continuities, unperceived till perceived in revelatory sentience... character epiphany....the within and without experienced in the imagination of the Human Form Divine, as Blake symbolised four-fold vision... which is trans-temporal and trans-spatial in the sense of serial time....

Serial time, created by Los and Enitharmon in the sun and moon symbolism is the longditudinal of the matter geometry of height, width and depth of the forms we perceive... Albion compacts and stonifies into frozen inertia...the compression is symbolised by Urizen's Temple of generation/nature worship.

Thus Albion collapses inward...and concommitent with turning inward from God is his absolute contraction within two-fold finite perceptual being until one-fold eternal stasis becomes the end point of Albion's eternal sleep...

Blake's art and poetry invite us to envision in three-fold sublime the energies of Albion enter two-fold finite sensory revelation. Blake's prophetic revelation details the shattering mutual predation of self-authorised fragmented component energy as Albion splinters, duration-bound, into Zoa, Emanation and Spectre, Son and Daughter, inert, unmalleable material forms, generative cyclicity, sexual and economic enslavement and murderous sacrifice for 'spiritual food and nourishment'. He falls from infinite, regenerative translucence in the infinite contraction of time and space in unity with God....or Blake's dynamic of infinite creative fulfilment in Divine energy....into Ulro and Generation...

Theologically, this collapse can be thought of as a Blake's myth of the fall into separation, blindness, division and contraction into primordial, elemental, non-being. Here is where Blake's origins of finite nature begin... precisely because Albion is contingent, once self-severed from Divine energy he is self-severed from the source of all being, for Blake the living energies of God, and has only his own energies to feed off and so Albion's components self-predate. The collapse is limited by God's intervention. Albion can't save himself else he would not need God; his hubris is to think otherwise, to think he rules life, death, work and fertility, and thought.

Such is the world we live in and for Blake the education and cleansing of human perception through sublime prophetic art is to reveal the infinite in the finite through Jesus, or the Divine principle....

The limits set are called Satan and Adam...Blake's Spectre symbolises our world's ideas of life and death in Ulro and Generation. The two limits are respectively perceptual and material and are ordered by the Temple. Satan is symbolic of a moral absolute based on finitude and is organised into a negation of the Divine within and without by Urizen's Temple of negative perception. Adam is the reduced human life symbolised by Rueben, whose life energies are both limited to life and death within the five senses and are controlled by the imperative of reproduction and power over others through war, human sacrifice and enslavement.

...and Golgonooza is the rendering into linear three-fold sublime of the precise perception that serial time has rolled back into itself and past, present and future enwrap into the entry of Divinity. Jesus enters finite at the centre, and thus is infinitely within Albion's morally insane attempt to escape Divinity without, by turning away inside. Albion finds God within and God without. Thus each Chapter of Jerusalem concludes its compression and expansion narrative from circumference of Albion's 'body' inwards in dissolution to the centre, then, after Divine intervention, back through time and space to the circumference of the thereby transformed finite. Albion 'begins' as the Angel of the Presence, where all things are perceptually possible and turns from God. Each Chapter travels a different narrative continuum and each concludes with Albion in the arms of Jesus. Chapter 1, 2 and 3 conclude with Albion collapsed into eternal death/sleep, denying the Jesus in whose arms he lies. In Chapter 4, after another co-parallel multi-linear narrative of apocalyptic or visionary cleansing, Albion awakens in unity with Jesus. The End, claims Blake and rightly so. His multi-levelled narrative lives imaginatively in aesthetic unity as a narrative whole. Once properly understood in these terms and in this coherent causal logic, it is no longer critically reasonable to claim Blake is a non-linear 'exemplar' of post modern technological possibilities. His work is multi-linear and the difference is enormous.

Blake's Canaan is his symbolic birth passage that is just such a infolded and unfolded linear narrative continuum that becomes a historical present....Canaan is an formed order of events in finitude that infolds to become the womb and birth passage of the feminine energies from Jerusalem to Mary and to the incarnation of Divine principle unfolding as creative mercy as Jesus is crucified and then returns in Ulro. The birth, death and resurrection means the revelation of infinite life within finite life, and so rolls back all finitude from the centre/east in all directions simultaneously to the circumference.

This narrative is symbolised by the Harvest and Vintage in all three major prophecies. Once infinite energy is perceived by Los and Enitharmon in Night VIII the apocalypse MUST follow as infinite energy and perception must consume the lesser energies of serial generation... necessarily also, the three-fold sublimity of Golgonooza's architecture genius is consumed in Night IX, or in the four-fold unity with God we experience in Jerusalem Plates 94-100.

Can we have a non-linear dream? No we cannot...by analogy neither can we have a non-linear literary work ...it is philosophically impossible...we cannot have a dream that does not live in a theoretically totalisable seriality... philosophically, depth pyschology itself is meaningless if the dreaming or imaginative intelligence is merely random even in existential psychology (such as outlined in Binswanger's classic study)... Randomness is a misleading metaphor for Blake....ultimately nothing is random because every 'minute particular', as Blake symbolised finite and infinite materialities, is in emanative communion with all others, in different coalescent entities of a particular composite of space and a duration in time...thus Enitharmon weaves nature's forms from spiders to lambs...or Rahad, Tirzah and Vala's iron spindles, thread, molten rivers and self-predatory weaving in negation. It merely seems that randomness is intrinsic to Blake's symbolisation of time and space and so of human life times and life spans. Blake's narrative is multi-linear.

For Blake, we do live in metaphors that are sensory in origin and absolutely in union with the perceptual modes we name or experience or point toward as forms of energy and their morphology in entropy...or their changing composition as time is experienced, as a cell becomes foetus becomes child, adult ages and dies and is reduced to cells again... When Blake's prophetic art and poetry is totalised into its four levels of narrative linearity, apparent discontinuity is found to be simply a discourse engaged in one of the levels. In literary terms, there is always a multi-level linear narrative in four-fold connectedness... defined in Blake's work as the figure of Jerusalem, the bride of the Lamb, and, the symmetrical, infinitely dynamic unity with God in four-fold perceptual experience of four-fold space and four-fold time, as in the multi-linear last plates of Jerusalem, Plates 94-100.

Blake shows us that even as Albion 'dies' in the fixed limits of Ulro, Urizen is beaten and forged into the restricted forms of the five senses in the furnace of Los and Golgonooza is founded. Thus, Albion's interior energies are seen by Blake as energy/matter morphologies.... interactive and dynamic.... and Los is mutually transformed with Urizen though is never Urizen or any other zoa energy...Urthona, Los, the Spectre or Urthona/Los and Enitharmon are the elemental energy forms of prophetic truth and expression... and, likewise, all other component energies of the other three zoas and the three emanations are dynamically transformed on the four levels of narrative linearity in ways beyond the individual comprehension of each form.

Thus, in The Four Zoas, Orc does not comprehend Luvah and Luvah's Spectre, nor Tharmas understand the Spectre of Tharmas. In Blake's narrative linearity, the greater embraces the lesser but the lesser cannot envision the greater. Four-fold sees all within and without, three-fold envisions two-fold but not four-fold...twofold sees no three or four-fold vision but perceives one-fold death...one-fold is Newton's sleep and sees no other life or awakening.

We, the audience, are in a two-fold world...Blake's prophetic multi-linear narrative levels of vision sees, in three-fold vision, the contraction into two-fold desolation and ruin of the four zones of east/centre, west/circumference, north/nadir and south/zenith that is Albion's interior ruin. For example, it is a two-fold ruin that Urizen, his senses forged into two-fold perceptual reduction by Los, after God sets the two Limits. That is why Urizen blindly sees and experiences only two-fold vision in Night the Sixth.

Blake's narratives are multi- linear...the non-linear methodologies of current theories do not organise the events into four planes....for example the two Nights VII of The Four Zoas, in my reading, are in linear stereo-textual unity. This is NOT non-linear. It is multi-linear. Likewise the narrative in Jerusalem...as shown, in each of the four Chapters contracts to the centre, where Divine intervention turns the vortex inwards and outwards back to the circumference in linear transformational narrative. There are thus four such linear narratives, and the four are drawn into quadrophonic-textual multi-linear unity in the last Plates 94-100.

In summary for this days blog entry, the electronic extensions such as in Broglio's exciting pedagogy of MOO space, fail to transform perception simply because the electronic mediums of experimental forms of creative discourse loosely lump event change into a balloon called non-linearity. By contrast, The Four Zoas and Jerusalem are shown beyond reasonable doubt to be linear narratives...there are three books on this web site that demonstrate that literary fact. Simply because critics following Ault claim these epics are impenetrable, plotless, non-linear and subversive of linearity, textual stability and therefore offer no character stability, does not mean these conclusions are correct...or that incommensurable 'non-linearity' is therefore methodologically correct. It is not correct. It is where we start. We finish elsewhere. We finish in multi-linear inter-connected, consciously crafted mythic coherence. We find Blake's major prophecies to be quite different multi-linear masterpieces of story telling and dramatic spiritual adventure.

What is meant by the term non-linear? What is meant by the term 'beyond the linear narrative' when linearity is philosophically hypothesised, and, then, negated like some straw dummy to be replaced by disassociated continuums.

In critical fact, we have a multi-linear presentation of character variants, fragmentations or fractals, presented to us deficiently as non-linear. Blake's multi-linear narratives are vortical in their symbolic functions. Blake's narrative intends connectedness. It seems proven beyond reasonable critical doubt that Blake should be believed. Thus, speech by speech, and action (or event) following action or event, as they do in both his art and his poetry, are connected by conscious psychic association and by the creation and entering of possibilities of artictic perception by multi-linear symbolic discourses ...or simply put, how he communicates his multi-dimensional myth.

What is new about this non-linear claim? In Shakespeare's Heir the prescient enfolding of past, possible presents and encapsulated futures are always shattered into revelatory fragments of the events that do occur...hence the chaos of fragmentation of King Lear...all of which fractured and destabilised narratives become woven into a multi-linear narrative not a non-linear narrative. It would seem to me to be the methodology of multi-linear narrative and discourse analysis, like Lear's deconstructed sanity, allows for Blake's brilliant perceptual innovation.

Well...of course the problem lies in perception of the whole...of the body as a whole and of the emanative components of non-linear response therein that, warring in disunity and embryonic consciousness, separates materialisation of events and actions from a concept of the self as an entity... e.g. Urizen's dragon form is a materialisation of his two-fold incapacity of conceptualise an infinity outside serial time and the matter geometry of height, depth and width: thus Urizen claims to be 'God from eternity to eternity' or, for the duration of Ulro, and the 8500 years of circle of destiny drawn by feminine energy (Erin in Jerusalem)

In an owned identity of awareness....i.e. as a conscious creative entity he believes is in unity in Divine inspiration, Blake symbolises the whole of time and space as body...the body of Albion and his emanation Jerusalem...

For Blake, perceptions are continuums of energy and form, or continuums of time and space, that are woven by 'looms' and 'spindles' into living forms in nature such as birds, fish, animals or even as dragon forms and trees .... After Albion's collapse within, into 'death' or 'eternal sleep', his inner elements are gathered by the net of Vala...and finite generation is temporarily energised by her sacrifice of Luvah's mundane energies. Jesus descends into the vegetable form of the deficient exhausted and tortured body of Luvah, the crufuxion cuts Luvah's dead 'clothing' of body and Jesus' return from death is revealed in 'glory'.

It is essential we know that in Blake, Vala always gives the bodies while Jerusalem always gives the souls. To Blake then, the infinite energies of all living things are passed from Jerusalem into the finite, to Vala, who gives finite form (while wrongly believing she gives life as the Goddess of Nature). The cleansing of Vala and Luvah is symbolised by the vintage; and the 'wine' of finite error fills the cup of Rahab. Blake completes this symbol in the taking and disolution of the wine of distilled sorrow by Jerusalem. Urizen's error is consumed in the bread of ages.

In Blake's narrative everything is energy and form... either finite or infinite...and as energy is perceived so the perceiver is self-perceived ....for as perception is, so the energy relations within and without become material woven form in a vortex of interaction...for example, Blake symbolises the universe as a 'universal tent' that can be raised or lowered in the perceptional will of emanative energy as a theatre curtain. Thus, after the cleansing 'doors of perception' as so self-perception, Jesus allows Albion to enter infinite life in love in the unity of God. Divine revelation awakens Albion, cleansed by the vortex of apocalypse of the Limit Of Satan and the Limit of Adam, or, in other terms, cleansed of the eternal sleep of self-annhilation, mere sentience and finite-hood.

the narrative in Blake traces the linear process of these self-predating component energies in Albion's 'body'. The morphology of these component materialities gyrate in vortices of interacting dimensions of multi-linear form and energy folding in, out, and between four planes of discourse and four levels or quanta of information: namely, one-fold, two-fold, three-fold and four-fold.

I will be back to this...a critical system claimed to be non-linear in Blake's major prophecies fails entirely to reveals connectedness. It fails to establish the synchronic and diachronic folds that embraces the unity of the whole body of the work as, actually, multi-linear narration simply moves from one level of perception to another through the poetry of transition between these four levels of vision.

The one-fold, two-fold, three-fold and four-fold narrative linearities are quantum fields of information in Blake's conscious linear crafting.

I'll return to this...but read the three books on The Four Zoas, Jerusalem, and on Blake's dramatic narrative.