writes Blake in the course of the book. Messrs. Ellis and Yeats have wound it into a very tangible ball, taking the symbolizism of the four Zoas as the clue to the whole mystery. Blake mentions the Zoas here frequently: "Four universes round the mundane egg remain chaotic" (nothing could be more true!) "One to the North Urthona; one to the South Urizen; one to the East Luvah; one to the west Tharmas. They are the four Zoas that stood around the throne divine." But if the symbolism of the Zoas is in reality woven into the very tissue of the story, and forms its vital and coherent argument, it must be discovered on some mathematical principle very foreign, and, indeed, repugnant to the lover of true poetry. It is in no sense obvious or sequential. The value of the book lies, not in its poetical merit, nor even primarily in its mystic significance, but in the insight which it affords into the byways of Blake's mind. The knowledge of his opinions gained here (they have been shortly commented on in a former chapter) enable us to form correct estimates of the scope of his plastic art, and his outlook on the world. Messrs. Maclaggan and Russell have edited a plain-typed and unillustrated edition of "Jerusalem," and promise an expository essay on it to follow in due course, so that to earnest readers its study will be greatly facilitated. The book is concerned with one Albion, the father as it would seem of all created men, and Los (Time) who is his friend. Jerusalem and Vala are his emanations--Jerusalem being his wife. The city of Golgonooza--that is, I believe, Spiritual Art--is also described, and bears its part in the story. On page 13, line 30, we read, "Around Golgonooza lies the land of death eternal; a land of pain and misery and despair and ever-brooding misery"--the repetition of the word "misery," does not sound as if every word had been studied and put in its place! But the idea that the beautiful city of spiritual Art should be built in the midst of pain and despair reminds one of a similar idea of Goethe's, "Art enshrines the great sadness of the world, but is itself not sad." And the following lines develop the suggestion, page 16, line 61: "All things acted on Earth are seen in the Bright Sculptures of Los's Halls, and every age renews its powers from these works. With every pathetic story possible to happen from Hate or Wayward Love and every sorrow and distress is carved here."