ABSTRACT
This chapter demonstrates how in Jerusalem, Blake transformed the conventional elements of narrative into their esoteric counterparts. The purpose of the enterprise is not to communicate a message, but to elevate consciousness so that the audience can apprehend vision for itself; the medium is not the material language of subject-objectivity, but the bi-modal image act; the point of view is not an artificially constructed unified consciousness, but the three modes of thought that correspond to the intellectual faculties; the setting is not the material world of time and space, but the fourfold esoteric cosmos within the four-part cycle from fragmentation through restoration; characters are not binary opposites, but complements within a dynamic whole; and finally, the plot is not the linear agon of a moral conflict, but the cyclical correction of an intellectual error.
