CYCLE TWO: TRIANGULAR HEATHENISM

1. Since things Heathen tend back, in due fatalistic attraction, towards the Superheathen, as Britain to the USA, there is a sense in which the inverted triangle of so-called Protestant solidarity within the British context is fated both to be, first, mesmerized and, then, ruled by the pyramidal triangle, as it were, of American so-called civilization, and that the progression or, more correctly, regression from the one to the other is akin, on the female side of life, to the eclipse of water by fire, or of (feminine) civility by (diabolic) barbarity.

2. Let us take some examples of British aspects or components of triangular Heathenism: for example, the distinction between Dance Pop and Vocal Pop as musical expressions of watery emotion and instinct over Soft Rock, the mode of watery expression that, being intellectual in a sort of carnal way, one would associate with what is masculine, and hence vegetative, within such a triangular context. (Hard Rock would be effectively beyond it in something akin to a more genuinely masculine aloofness, through vegetative vegetation, from the feminized masculinity that typifies the base of the triangle in question, and which tends, in consequence, to reflect an Anglican [Anglo-Catholic] rather than a Roman Catholic allegiance.)

3. Be that as it may, there are two kinds of Pop over one kind of Rock in this inverted triangle of British civilization, and the former tend to dominate the latter in due heathenistic fashion, the feminine aspect of things always being hegemonic in Heathen contexts over what remains to or of the masculine.

4. There are also, to change the parallel, two kinds of rugby over one kind of football, viz. Rugby League in the position of Dance Pop (emotional) and Rugby Union in the position of Vocal Pop (instinctual), and they are likewise, with their elongated ball, more feminine than masculine, which is to say, more objective than subjective, and thus pertinent less to vegetation than to fire and water within the overall context of watery civilization.

5. Turning to politics, one could cite the Labour Party and the Tory Party as holding analogous objective positions, corresponding to fiery emotion (red) and to watery instinct (blue) over the Liberal Democratic Party, the party, if my analogical hunch is correct, of a somewhat compromised intellectuality (orange), much as though of a vegetative integrity that was habituated to being vitiated by fiery and watery onslaughts 'raining down' upon it 'from above'.

6. Be that as it may, we may take as religious parallels to this British triumvirate of mainstream political options the likelihood of Presbyterianism (Dissenterism) and Puritanism (for example, Baptists or Methodists) holding the (im)moral 'high ground' over Anglicanism, given the absence of a vegetative symbolism from their respective crosses, the one arguably closer, within British phenomenal terms, to the fundamentalist element of fire and the other a per se manifestation of the humanist element of water, neither of which would seem to have any great regard for the nonconformist element of vegetation upon which they direct the greater proportion of their objective barbs, not least of all since the so-called 'Roundhead' victory of Presbyterianism and Puritanism over Anglicanism during the English Civil War (1642-49), and the consequent hegemony, within parliamentary democracy, of Protestantism over its Anglo-Catholic and very much royalist lesser brother, or perhaps one should say cousin?

7. In fact, the 'free churches' are now freer than ever before to dissent, within the carefully prescribed parameters of so-called Protestant solidarity, from the Established Church, and to do and/or give things in their own necessarily more feminine way. Not for them the Mass of vegetative taking, in due nonconformist vein! The body of Christ is as irrelevant to them in wafer form as it is to the abstract crosses to which they heathenistically bow their effectively square heads in fundamentalist and/or humanist fashion.

8. Rather than risk being deflected from my principal concern here, let me straightaway return to it and adumbrate some more aspects or components of the inverted triangle we have been discussing. - Like, for instance, red and white wines in relation, 'down below', to pale ale; or, alternatively, like free-verse poetry and free-verse drama in relation to novelistic fiction, albeit a fiction that tends to eschew overly philosophical leanings, and to suffer its narrative unfolding to be compromised by both dramatic and poetic intrusions, in keeping with its susceptibility to that which, within the watery parameters of British civilization, tends to hold the high (im)moral ground in due objective, and hence feminine, fashion.

9. Assuredly a parallel with Soft Rock rather than Hard Rock for those novelists who, if they haven't already achieved, intend to achieve and, more importantly, to retain recognition within the British context. Anything else (less) would be un-British to the point of possibly amounting to an Irish subversion, via philosophical literature, of something that should be more Anglican than Roman Catholic, more Association Football than Gaelic Football, more pale ale than stout, more Liberal Democratic than (presumably) Fine Gael, and to have, for its compromised content, more 'cowshit' than 'bullshit' in consequence of being a Soft-Rock parallel that must needs defer, through Protestant solidarity, to the Dance-Pop 'cowpuss' and the Vocal-Pop 'cowpiss' of the poetic and dramatic 'free spirits' (sic.) who rule or, at any rate, govern a heathenistic roost, largely, though not exclusively, at their expense!