P. 14. ll. 47 to 50. Blake changes the plain of the symbolism, and sees Milton descend unto himself — thus identified with humanity — as a falling star, or descending inspiration which enters the lower part of his mind, that portion which is towards the northern darkness, and which is symbolized by the left foot.
P. 14, l. 50. Milton's arising and going forth is seen to be his entrance into Blake's mythic system. From then, the part of that system called "Milton" understood itself and the meaniug of the story of its personage when he was a vegetated mortal, not yet perceived as a state. In this meaning is included a set of minor significances for his wives and daughters. For these, in their symbolic sense, as Rahab, i.e. the symbolic power, this form of religious poetry gives itself.
P. 16, ll. 1 to 20. The word Human must be noted as meaning "belonging to the imagination," — in this page. Milton as a thought perceives backwards himself as a man, and knows himself a symbol. He sees his wives and daughters symbols also, though, as such, they are not merely six, but numberless. His body (for now the fleshly idea of body definitely vanishes,) is the rock that Urizen shot at Fuzon, — his system is the law. (He would justify the ways of the God who was Satan misnamed, — the God of darkness, jealousy, and vindictive law, to men). His female symbols being named twice over, once for his system or shadow, and once for the symbolic or human element in his life.
P. 16, ll. 21 to 30. The mundane shell is described, and it is shown how Milton, as an influence, travels from erroneous morality towards eternal art, going to Golgonooza, that is, from the graves, or flesh, outside, by way of Midian, the desert, among the moral rocks of Horeb.
P. 16, ll. 31 to 36. It seems to the feminine portion of Los that he will surely let loose Satan from bondage in Analogy, and cause him to dominate mankind, Albion. So the masculine portion opposes him.
