Blake's Jerusalem has baffled many good readers, but approaching it as visionary theatre reveals the coherence of its complexities and strange language. Key terms – such as visionary theatre, Divine Body, Zoa, Emanation, Selfhood, and Blake's four states of being (Ulro, Generation, Beulah, Eden/Eternity) – must be described or defined before approaching his illuminated poem both creatively and critically. Jerusalem seeks to move its readers (with its characters) from a merely rational approach (called Ulro) to an imaginative one in which all things interconnect in what can be called ‘differentiated unity’ (Eden/Eternity). A brief overview of Jerusalem's reception history prepares the ground for the imaginatively theological approach this book is offering.
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