Here a difficulty presents itself. If Nature be a vegetable mirror of the eternal world, then her cruelties must reflect eternal cruelties. The spiritual man may see Nature far differently from the natural man, but that does not mean that she is merely the picture thrown by man's subjective self on the great abyss. If man were altogether exterminated her cruelties would still continue. Since Blake did not deny all existence to Nature, he was finally obliged to accept the old Christian explanation so finely summed up by St Paul in the eighth chapter of his Epistle to the Romans. Sin and disorder originate in the unseen heavens of the cosmos, where the principalities and powers dwell. Man repeats their sins, and Nature reflects the disorder of their cosmos. Hence there is no redemption in the cosmic heavens. Man enters on his redemption only when he bows the knee to Him who was raised above all heavens. And though "the whole creation groaneth and travaileth together until now," yet at the great manifestation of the sons of God she also "shall be delivered from the bondage of corruption into the glorious liberty of the children of God." If the fall be denied, then the sufferings of nature and man must be referred to evolution, which taken alone solves something, but not the whole, of the ancient and baffling mystery. All this explains finally why the great Memory to which Blake refers so often in _Jerusalem_ cannot redeem a man. It is shut up in the cosmos. Memory would keep man in the cosmos even though he were reincarnated a million times. Memory's real work, whether for creative art or man's redemption, is in the fact that she gives man standing ground amid the horrors of infinity, until he takes strong hold of Him who overcame the world, and is lifted by Him into His ascension glory beyond the maddening whir of the cosmic wheels. In these poems we get Blake's final attitude towards sex and passion. Passion is always fire, and as such it is energy. To-day we are apt to use the word only for sex. In the eighteenth century passion was of any kind, and appetite stood for sex. With Blake, passion is man's vital worth. It may flame along many forbidden avenues, but once it has mounted to the imagination, and is controlled by spirit, then it is the driving force that makes man's works beautiful and his character spontaneous. The passion of sex is, no doubt, the strongest of all. In the early prophetic books, when Blake was in a fever of rebellion, he affirmed that the sex passion was holy and should be free. Now in these later "prophecies" he still maintains, without wavering, the holiness of sex, but he no longer insists on free-love. He has no place for perversions. He steadily contemplates the normal impulse, and sees it as the principle of life impelling to love and children.