Thus I hope I demonstrate, from the opening chapters, that Blake's poem has a clear structure, argued closely from the stages of composition, in which he presents a philosophically rational, developed cosmology (namely, being and generation, time and space, motion and attraction, and order), which in turn, structures his psychology.

The twice fallen component energies evolve from their extreme disorientation to orientation by means of two sets of spatial referents. Within Albion's consciousness the cardinal points north, south, east and west are used by the Zoas and Emanations, who see themselves as autono mous entities. By contrast, from the infinite, the actions of the component energies are seen in terms of the points nadir, zenith, centre and circumference. This visionary demand upon the reader is a second hypothesis here. It seems the two major compositional stages that I suggest took place are related to the growth and conscious shaping of the second set of imaginative co-ordinates. It should be, then, that the poem is read with both sets of referents operating simultaneously.

During the second universe Los builds Golgonooza and Urizen builds a Temple at the centre of Albion's consciousness. The buildings represent the contrasting principles of eternal life and eternal death. The cycles of the edifices are described in Night the Seventh (a) and Night the Seventh (b) respectively, and both nights must be thought of as concurrent to understand the poem. The two Night's the Seventh are two sides of the same coin so the speak.

The mediums of virtual reality lend comparison to such an imaginative dualism. In such a film as The Matrix there are two universes, one `inside' and coherent, and one `outside', likewise coherent. The persona `pass' from one centre `without' directly to the centre of the continuum `within'. When the protagonist passes into the dimension

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