66

Severe the labour; female slaves the mortar trod oppressed.

(K. II. 166-172)

Urizen's palace is characterized by "Twelve halls" (K. II. 173) named after his sons, "three Central Domes" (K. II. 174) named after his daughters, and "The Golden Hall of Urizen" (K. II. 179). Each hall is surrounded by "bright Paradises of Delight" (K. II. 176). However, The figure of Ahania (an inverse, enshrined, goddess of wisdom) indicates that Urizen's palace is another labyrinth:

His Shadowy Feminine Semblance here repos'd on

a White Couch,

Or hover'd over his starry head; & when he smil'd

she brighten'd

Like a bright Cloud in harvest; but when Urizen

frown'd she wept

In mists over his carved throne; & when he tum'd

his back

185 Upon his Golden hall & sought the Labyrinthine

porches

Of his wide heaven. Trembling, cold, in paling

fears she sat

A shadow of Despair.

(K. II. 181-187)

Within this palace, in imagery reminiscent of Hellenic burnt offerings, Ahania receives sacrifices; her "Daughters oft upon/A Golden Altar burnt perfumes" (K. II. 189-190). Classic art, rather than the Gothic art which Blake preferred, is presented to Ahania: "Art Celestial forn'd/Foursquare, sculptur'd & sweetly Engrav'd to please a shadowy mother" (K. II. 190-191). Her sons sacrifice to her "upon an altar of brass" (K. II. 194), The daughters' sacrifice is from the west, the sons' from the east and the circuit of the sun thus is described in terms of mundane sacrifice and slavery:

Of terrible workmanship the Altar, labour of ten

thousand Slaves,

One thousand Men of wondrous power spent their lives in its formation.

(K. II. 197-198)