The last sentence makes hell an eternal necessity to preserve the equilibrium of heaven. Strictly it makes also the devil an eternal counterweight to God, and what else follows we may learn by studying Zoroastrian dualism. Blake's comment was: "God and evil are here both good, and the two contraries married." Blake was early occupied with the marriage of contraries. Swedenborg's word was a sanguine seed in prepared soil, and when it brought forth fruit a hundredfold, the rich return was not the logical outcome of Swedenborg's dualism, but a marriage of heaven and hell, of religion and art, which is showing a fertile capacity for endless reproduction. So far, then, Swedenborg's attraction for Blake far exceeded his repulsion, and he embraced him with impetuous affection. Here was a teacher who could understand by experience both the new birth and vision. By his help he disentangled himself from the particular explanation and theory of the atonement as given by Whitefield and Wesley. Here was a visionary who could not only understand his own visions, but who could give a reasonable explanation of the working of the visionary faculty. Swedenborg brought order, reason, and system into Blake's chaotic mind. Isolated from the churches, yet ardently desiring fellowship as the substance of his faith and wisdom, it appeared to him that there was nothing else to do but join the New Church of Swedenborg, and accordingly, in 1788, he and Catherine signed their names in token of membership and assent to the distinctive doctrines of the New Church. The curious may find this reported in the Minutes of the first Seven Sessions of the General Conference of the New Church, published by James Speirs, 36 Bloomsbury Street, 1885. Let us turn to Blake's two poems, _Tiriel_, 1788, and _Thel_, 1789, which have special interest as they were written about this time that he subscribed to the Swedenborgian Church and Swedenborg's influence was paramount. Tiriel--old, bald, and blind--is related to Urizen, but Urizen in Blake's completed mythology is the symbol not only of the law with its prohibitive commandments, but of the reason formed by the five senses, and therefore ever ready to stamp out imagination and inspiration, which derive their source from beyond the senses. Tiriel is the product of the law, and is the antithesis of love. Swedenborg's natural man was justified and saved by love, Luther's faith not being sufficient, and so in Blake's Tiriel there is besides St Paul's law the Lutheran's pharisaism, and just a suggestion of that contempt for the beautiful which was to make Urizen such a terrible figure, and was eventually to lead to Blake's estrangement from Swedenborg.