accuser. Hayley is represented as Hyle (also, ironically, the Greek word for matter). Another aspect of the destructive forces that Blake saw attacking the divine humanity is embodied in Hand, whose name derives from the pointing hand used by the Hunt brothers as their signature in
The Examiner
. It was over this editorial siglum that Blake saw his exhibition of pictures condemned in September 1809 and himself called "an unfortunate lunatic." The Daughters, who are named after females in the mythological history of Britain, are, if anything, more bloodthirsty than the Sons; because of their allure, Los, Albion's "strong Guard" (19:38) does not dare approach them but sends his Spectre after them. Through much of the work, Albion lies asleep, separated from his emanation, Jerusalem, who is a city yet a woman as in Revelation. Cast out and condemned as a harlot, like Oothoon in
Visions
, Jerusalem's role is largely one of uttering pleas for divine love, mercy, and brotherhood; the wickedly seductive Vala has the more active role. In the postapocalyptic world, however, ''Sexes must vanish and cease / To be" (92:1314): Vala and Enitharmon disappear from the text, which ends by naming the emanations of all human forms Jerusalem.
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When Albion awakens, he seizes his bow "firm between the Male & Female Loves" (97:15), suggesting an existence beyond genital sexuality, and with one fourfold Arrow of Love annihilitates the Druid Spectre. Plate 98 then presents a breathless rush of activity, with Blake pushing to their limit the "terrific numbers" that he reserved for "the terrific parts" (plate 3), crowding the line to its breaking point to suggest the forces of the apocalypse:
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 | | And they conversed together in Visionary Forms dramatic which bright
Redounded from their Tongues in thunderous majesty, in Visions
In new Expanses, creating exemplars of Memory and Intellect
Creating Space, Creating Time according to the wonders Divine
Of Human Imagination . . . (2832)
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Existence continues to be an interplay of forces, with "the great city of Golgonooza" still existing in "the Shadowy Generation" (98:55) and earthly forms being recycled to and from their "Planetary lives" (99:3).
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Readers have come a long way from the dismissal of
Jerusalem
as the "perfectly mad poem" that Robert Southey found it to be (see
Blake Records
, p. 229). Blake's mode of "Allegory addressd to the Intellectual powers," as he called it in a letter, makes great demands but offers great rewards. Blake's apt figure for the reader's experience in
Jerusalem
is a ver-
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