Much Ado About Nothing Chapter 9: Part 5: End Chapter

For Blake, the rebel character is a redeemer in disguise. The force of the oppresser, boomerangs back into his face via the agency of the character Orc, who is the archetype of compressed energy exploding. This is echoed in the prophesies of the American and French revolution, where Orc is depicted as serpentine. He is the child of Enitharmon and Los, the sacrifice they leave on the mountain; a Promethean figure.

In Milton, the rebel is Satan who organizes the angels in a rebellion against God. When his war is shown to be mere hubris, he causes the fall of man or rather the loss of Eden.

For Freud, the loss of Eden is the loss of the womb, that state where we want nothing and live in perfect unity with the environment. For Blake, the loss of Eden is the rise of Urizen over the other eternals. Eden then is a balancing of the four principalities of intelligence so that one doesn't take control of the entire personality. In Jung, this is known as "centering" which isn't really a centroidal method, it is more like during certain points we can only see from one principality at a time, until we are centered at which point we take a step back, so that we can utilize our entire personality at every given moment, instead of a part at a time.

This Unity of Personality is a paradigm motif in Kitaro Nishida's inquiry into the good and echoes a Buddhist belief that one can unite the conscious with the unconscious to achieve a higher form of consciousness.

And this is the fundamental principle which pervades the text, a sort of Gestalt synthesis of varying psychic energies which operate best when operating together.

Milton isn't just a poem, it is a reading of a poem, and itself a method for analyzing poetry, prone as it is, to hyperbolic ballistics and forcing the reader at every point to interpret, to re-interpret, to analyze the quality of the interpretation, to test the interpretation, and to see eventually that interpretation itself is indebted to some context.

Blake's is a theory of states, which is about you, the reader, and Milton, the subject. It is more about how it signifies than what it signifies. It tropes on motifs the same way Gates suggests Ellison tropes on Richard Wright. Blake's insult of Milton is an homage to Milton. Blake's read of Milton is a work of art in and of itself, it is poetry. Poetry is not pile of words but a mental act that brings disparate things together, mimicking a structure, troping a motif there. With rhetorical turns, and catechresis (the intentional misuse of symbols).

The role metanymy plays is of the utmost significance but outside the thesis of this text. Suffice it to say, many parts are all fighting with each other to take control of the whole and while Albion sleeps, no resolution is possible.

It is not until God forgives Satan that great Albion awakens.