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infinite consciousness, while the account of the messengers depicts the fall of an infinite consciousness into the finite. Hence, to the Emanations the fall is into the definite forms of the natural universe, while to those in Beulah the fall is into indefiniteness, for Albion's "exteriors are become indefinite, open'd to pain/In a fierce hungry void, & none can visit his regions" (K. I. 543-544). Only Christ's mercy can extend into the finite to embrace the entire experience of Albion's 'death' and resurrect him.

In Ahania's vision of the fall, Albion sees a manifestation of his own mundane desire in the form of a 'love image' of himself. He falls down and worships this image. Out of the self-reflection that he worships emerges, appropriately, Luvah (the component energy that represents Albion's own mundane passion). Immediately, Albion loses the Divine vision; his component energies take on their differentiated identities; and the finite cycle of The Four Zoas begins, heralded by Albion's words, "Whence is this voice crying; Enion! that soundeth in my ears?" (K. III. 77). This is the moment of the fall, for the words are a direct echo of the opening words of Tharmas in Night the First--"Lost.' Lost! Lost.' 0 my Emanations! Enion, [come forth, del.] 0 Enion" (K. I. 26).

Ahania depicts a struggle between Albion and his component energy, Luvah. In other terms, Luvah becomes a differentiated aspect of Albion's own consciousness, and then attempts to sustain Albion's worship. This self-idolatry results in the fall and the immediate result is finitude: "the vast form of Nature like a Serpent" (K. III. 97),

Further, Ahania's vision complements Enitharmon's, for