As a natural philosopher arguing via poetry and visual art, Blake eclectically integrated numerous traditions in developing the panpsychist and pantheistic metaphysics of his early work. But his monist materialism, which argued for the divinity of all things, becomes increasingly muted and eventually abandoned by the end of the Urizen cycle. Blake's rejection of all forms of nonhuman nature as well as the human body is glaringly evident in his address “To the Christians” in the last illuminated prophecy, Jerusalem (1804–c.1820), wherein he asserts that “this Vegetable Universe is / but a faint shadow” of the “eternal World” one enters when “these Vegetable Mortal Bodies are no more.” Here the material universe is a shadowy hindrance to divine vision, and the corporeal, or “Vegetable” body, which Blake earlier in the poem calls an “excrementitious husk,” prevents its realization. Blake makes the same assertion in his annotation to George Berkeley's Siris: “The Natural Body is an Obstruction to the Soul or Spiritual Body.” This is clearly not the same philosopher who in The Marriage declares, “Man has no Body distinct from his Soul.” A detailed analysis of Blake's later prophecies is beyond the scope of this work, which has challenged the prevailing assertion that such statements from Jerusalem and the Siris annotations are characteristic of Blake's philosophy throughout his oeuvre. And just as Blake's philosophy is modified in each work studied here, I do not assume that a rigid Christianized dualism or Berkeleian Idealism uniformly characterizes everything Blake wrote, drew, painted, printed or engraved from the mid-1790s until his death in 1827. Indeed, a strain of pantheism persists in the later works, as in the following lines from The Four Zoas (1797): “So Man looks out in tree & herb & fish & bird & beast / Collecting up the scatterd portions of his immortal body / Into the Elemental forms of every thing that grows.”