Black God's Shadow by C. L. Moore

 First appeared in Farnsworth Wright's Weird Tales. A direct sequel to "Black God's Kiss."

Jirel hears Guillaume's voice calling to her, both beckoning and calling her his "murderess." She returns to the underworld or the dark dimension beneath the dungeons of Joiry to find the lost, tormented soul, for whom she holds complicated feelings. 

Commentary (with Spoilers)

Jirel articulates her guilt. Perhaps Moore seems to be exploring Jirel's strange feelings toward the conqueror she realized too late that she'd come to love. After following the voice across the lands, she discovers the black stone god who'd been tormenting him with visions of Jirel.

Not only does Moore get a chance to explain Jirel, but also the writing improves.

Religion returns. The surface world might be governed by something akin to Christianity while beneath the dungeons (the subconscious?) lurks a darker, more primal religion (underworld? hell? or an existence beneath our conscious selves?). Verifying the subconscious interpretation is the way the underworld unfolds in a dream- or nightmare-like manner. Using a variant of Taoism, Jirel concludes that Guillaume must have had goodness to complement the evil.

When she frees his shadow, she is expunged of her guilt (eternally damning Guillaume due perhaps to her neglecting to allow him to repent).

At one point, she names Guillaume as a lover, which raises a host of questions. Does this suggest forced love? Or is this just a label for one who loves? The former seems unlikely given her attitude toward Guillaume, but perhaps her feelings are truly complicated.

If written today, these might have difficulty finding a publisher, or if published, they might have created a negative stir--despite their feminist attitudes--due to her complex feelings toward her conqueror, but perhaps later generations, more interested in art than politics, will see her more as a complex character than a mirror of or opposition to one's political ideals.

The terms "Shadow" and "Kiss" from the titles could equally belong to Guillaume and the Black God [not a reference to melanin, as far as I can tell ], perhaps conflating them, or playing with Guillaume's elevated stature in her world, and this journey is one within her own self, liberating her sense of love, liberty and guilt. 

It's not completely clear the final allusion to Philippians 4. Is it the self who brought the peace? Or is it another? Or has it come via the self's act through another because it was ordained by a supernatural other?