CYCLE TWELVE

1. The illusion of light created by the speeding of elemental photon particles through the ether as they diverge from the vacuum of spatial space ... contrasts absolutely with the truth of spirit established by the focus of elemental photon wavicles (consciousness) upon the plenum of air which is their Heaven and effective Omega Point.

2. From the centrifugal objectivity of light to the centripetal subjectivity of spirit via the centripetal objectivity of mind and the centrifugal subjectivity of will, as from films to compact discs/floppies via books and tapes.

3. An intellectual's concept of Hell would have to be a place, like school or college, where people were expected and, indeed, encouraged to read. For reading is a sort of centrifugal objectivity, necessarily noumenal, of the mind, and such an activity effectively damns the reader to intellectual Hell, whether or not - though especially when - he is also a poet.

4. Although diabolically antithetical to philosophy, poetry is also, traditionally, a noumenal art form, with a right to space as the appropriate backdrop - usually exemplified by stanza divisions - for its elucidation of time. Whether this time be expressed sequentially or repetitively, weakly or strongly, or, indeed, by both devices, in greater or lesser degree, at once ... will of course depend upon the type of poet. Though the 'best' poets, like for that matter the 'best' musicians, will tend to prefer the repetitive omega to the sequential alpha, being closer to the Father than to His Satanic adversary. Hence stronger metre (rhythm) and less rhyme, alliteration, assonance, and other apparent devices ... more typifying the negativity of the antipoet. In fact, rhyme is closer to light than to heat, being a seduction of the eye, whereas metre directly appeals to the soul in its rhythmic intensities, and thus stirs up the blood - the last thing that the philosopher would want to do! But poets, as we have seen, are of the Damned, and never more so than when, as in a royalist age, time is the principal element and its expression is accordingly unclouded by heavenly or purgatorial or even mundane scruples, being relatively free of space (except in the aforementioned sense), volume, and mass. Such was how poetry used to be before the 'Age of Reason' and after the 'Age of Faith', when time broke free (relatively speaking) of space, or more correctly space-mass, but had not yet succumbed to the domination of volume, with its puritanical horror of free time. For the 'Age of Reason' brought time low, to coin a phrase, and voluminous poems, scorning the spatial dimension of stanza divisions, increasingly came to supplant poetic ones, the Protestant 'bovaryization' of poetry tailored to the lunar unfolding of a narrative cloth. Now all that remained was for this cloth to be dragged through the dramatic mud of a Republican 'bovaryization' ... for the subversion of time to reach rock-bottom, so to speak, and thus fall-in behind mass as the cardinal element. Here time was truly buried, though, alas, not completely and not for ever; since something akin to epic, lyric, and narrative poetry continued to exist and to haunt the poetic imagination with flights of emotional fancy. The final death of poetry has still to come ... with the 'reign' of the philosopher-king. For where God is, there can be no place for the Devil (to do).