401. Just as the Christian
civilization arose from out the barbarism of the Dark Ages, so the Superchristian civilization of the Social Theocratic future
should arise from out the barbarism of the second Dark Ages.
402. The light of superheathen civilization is now so deeply entrenched and
all-pervasive that there could be no question of the World evolving towards a Superchristic civilization without the coming of an
intervening darkness, the darkness of a superbarbarism.
403. Film is a major facet of
the superheathen light which blinds the greater part
of mankind to the possibility of the 'light within'.
404. Until
the 'light without' is largely eclipsed by a second darkness, there can be no
possibility of the inner light, and thus no hope for the Holy Spirit of Heaven
thereafter.
405. The
inner light of hallucinogenic enlightenment would pave the way, in Supercatholic fashion, for the Holy Spirit of Heaven, the
ultimate salvation of oneness with oxygen.
406. The superheathen
devotees of the external light may be civilized, but they are no better than
the pagans of classical antiquity.
407. Only that man who wants
to 'go within' is Superchristic, and for him the
darkness is not something to prevent but an historical wedge through which one
must pass in order to grasp the inner light of true civilization.
408. Where the outer is
alpha-stemming and false, the inner is omega-orientated and true.
409. To
distinguish the evil, or negative, civilization rooted in the light from the
good, or positive, civilization centred in the spirit.
410. Likewise to distinguish
between evil barbarism and good barbarism on the basis of a
republican/socialist dichotomy - the former against Christian civilization and
the latter against the superheathen civilization of
the Anglo-American West.
411. Hence where evil
barbarism is opposed to good civilization, good barbarism opposes evil
civilization.
412. Just as Republicanism
snuffed out Christian civilization, so superheathen
civilization will be/has been extinguished by Socialism.
413. But
Socialism will pave the way for Communism, which is to say, the Superchristic (Social Theocratic) civilization of the
artificial inner light/spirit in the '
414. By comparison with the
Social Theocratic '
415. For
monarchism, being autocratic, is a thing of the Devil, and the Devil glories in
strength.
416. God, by contrast,
glories in truth, and truthful will be the Social Theocratic '
417. The
Second Coming could not save the British Monarch; for autocracy, rooted in
strength (power) is outside the pale of what can be saved.
418. A rich man/woman cannot
be saved, any more than the Devil could be saved by God ... the Second Coming.
419. That which is upper
class is absolutely outside the pale of what can be saved.
420. That which is middle
class is relatively outside the pale of what can be saved.
421. That which is working
class is relatively inside the pale of what can be saved.
422. That which is classless
is absolutely inside the pale of what can be saved, being, in truth, that which
is of salvation.
423. The essence of 'God save
the King/Queen', the British National Anthem, is not salvation in the messianic
sense (for how can a monarch be saved?), but preservation, long to reign over
his/her subjects.
424. Hence the British
National Anthem is about preservation of the reigning monarch vis-à-vis the
Creator, the cosmic guarantor (Dieu et mon Droit) of monarchic 'right', rather than the salvation
of the reigning monarch, whichever monarch that may happen to be, vis-à-vis the
Second Coming.
425. Christ said something to
the effect that it was easier for a camel to pass through the eye of a needle
than for a rich man to enter the '
426. A rich man would have to
abandon power and wealth before he could hope to be saved by the Second
Coming. Yet, even then, there would be
no guarantee of salvation for him.
427. God the Second Coming is
prepared to save worldly sinners, i.e. sinners of the World, but this should
not be misconstrued as applying to sinners against the World, whether lunar
(and relative) or solar (and absolute).
428. For
sinners against the World, there can be only damnation, the damnation, at the
very least, of being refused entry into and/or kicked out of the '
429. If Gaelic Football is
superior to Association Football because it goes beyond the World in terms of
its upper posts being open to the sky, then so must
Gaelic be superior to English in the degree to which it transcends the World.
430. When and where people
cannot 'speak their mind' and write freely, there is invariably some
anti-worldly and/or anti-heavenly tyranny which binds them to lies.
431. To be bound to lies is
to both deny and be denied the truth.
432. Poetry and fiction are
the two main literary lies which bind men to falsity, and thus prevent their
realization of the truth.
433. Ultimately, truth can
only be pursued and captured through philosophy; though it helps if one has
experienced the beauty of drama and opted, thereafter, to deny the will.
434. Denial of the will is
only possible, ultimately, through the artificial beauty of art, not through
natural beauty, which rather encourages it towards propagation.
435. It is by contemplating
the artificial beauty of art that Man is enabled to transcend the natural will
and acquire an intimation, thereby, of heavenly salvation.
436. But
transcendence of the will through art is still a long way short of heavenly
salvation, given its worldly limitations.
437. He who contemplates the
artificial beauty of art sublimates the will along the mundane lines of the
universality of the World.
438. Such universality, while
it may make for a Catholic Heaven, or salvation, is still at a considerable
remove from the universality of Heaven, which is the airy goal of all moral
striving.
439. Broadly, Schopenhauer
was a much wiser philosopher than Nietzsche, whose power-affirming philistinism
bordered on the obscene.
440. Nietzsche was really the
antithesis of a philosopher, a sort of poetic 'wolf in sheep's [philosophical]
clothing' who tore morality to shreds in his insane hatred of Christianity.
441. Nietzsche's hatred of
Schopenhauer was no less perverse than his hatred of morality, and stemmed from
a similar source.
442. Schopenhauer taught
denial of the will, and Nietzsche taught affirmation of the spirit - the one
was wise after a Catholic fashion and the other foolishly fundamentalist.
443. By and large, the
twentieth century followed Nietzsche rather than Schopenhauer, with morally
catastrophic results (Fascism).
444. Compared to
Schopenhauer, Nietzsche was if not overly barbarous, then certainly less than
truly civilized!
445. Barbarism rides out on
the triumph of the will and perishes with its denial.
446. Civilization is born
when barbarism dies, and it affirms not nature but art, which is artificial.
447. Just as nature is the
essence of barbarism, so culture is the essence of civilization; for culture
can only develop where nature is not.
448. The
cultivated barbarian tames and cultivates nature, but is unable to transcend it
through culture.
449. Without
civilization there can be no culture, and thus no art, but only the natural
wilfulness of barbarism.
450. One can be civilized on
a number of levels, but the highest civilization of all is that which denies
the spirit and thus makes possible the art of self-cultivation through
meditation.
451. Such self-cultivation -
which is not to be identified with the personal spiritual self - brings forward
the Holy Spirit of Heaven in the ultimate culture - one transcending the World,
and hence all art.
452. Not only aesthetic
culture, but both ethical and ethnic culture are also
transcended by the theistic culture of the '
453. Whereas aesthetic
culture affirms beauty through art, theistic culture affirms truth through air.
454. Where ethical culture
affirms goodness through the prayer book, ethnic culture affirms strength
through race.
455. Compared to aesthetic
culture, which is of the World, ethical culture is of Purgatory.
456. Compared to theistic
culture, which is of Heaven, ethnic culture is of Hell.
457. The
aesthetic culture of the Mother contrasts with the ethical culture of the Son,
as Humanism with Nonconformism.
458. The
ethnic culture of the Father contrasts with the theistic culture of the Holy
Spirit, as Fundamentalism with Transcendentalism.
459. To contrast the
phenomenal subjectivity of aesthetic culture with the phenomenal objectivity of
ethical culture.
460. To contrast the noumenal objectivity of ethnic culture with the noumenal subjectivity of theistic culture.
461. Aesthetic culture, being
of the Mother, is mundane, whereas ethical culture, being of the Son, is
purgatorial.
462. Ethnic culture, being of
the Father, is hellish, whereas theistic culture, being of the Holy Spirit, is
heavenly.
463. He who creates God the
Holy Spirit of Heaven by bringing his consciousness into focus with the air he
breathes is beyond belief in a Creator God, such as Jehovah or the Clear Light
of the Void.
464. God as Creator of the
Universe is not only the most primitive and primal concept of God; it is the
most false, because alpha rather than omega.
465. To regard God from a
cosmic viewpoint as Creator of the Universe, is to take what might be termed a
scientist's view of religion, which, because it is rooted in the given rather
than the becoming, is the most spurious of all religious affiliations.
466. One has not begun to
live religion until one has turned one's back on the
barbarism of cosmic Godhead and thereby denied the spirit of creation!
467. Denial of the Clear
Light of the Void is a prerequisite of theistic culture in the Holy Spirit of
Heaven.
468. It could be said of
acoustic music that it is a neutron equivalence vis-à-vis the electron
equivalence of electric music.
469. Thus
it could broadly be said that acoustic music is bourgeois and masculine,
whereas electric music is proletarian and feminine.
470. This would not apply,
however, to Jazz, which, when acoustic and traditional, is rather more of a
proton than neutron equivalence, given its intensive rhythms and centrifugal
wind.
471. Jazz
would therefore stand to, say, classical acoustic music as the sun to the moon,
or protons to neutrons.
472. Thus it could be argued
that the relationship of Jazz to Classical is akin to the relationship of
America to Europe, the 'New World' to the 'Old World', with the former largely
diabolic and the latter largely masculine, e.g. solar and lunar, or
fundamentalist and nonconformist.
473. The eclipse of Classical
by Jazz is equivalent to the eclipse of the '
474. Hence one could speak of
the damnation of Classical by and through Jazz, with the former broadly middle
class and the latter broadly upper class.
475. To
contrast the Classical Purgatory with the Jazz Hell, or intellectual music with
soulful music, the former cold and the latter hot.
476. If Jazz corresponds to a
musical Hell and Classical to a musical Purgatory, then Pop (including Rock)
must correspond to the World, being a working-class music.
477. Pop music is largely
electric and therefore electron(ic),
which makes it phenomenally subjective (will-based) where Classical is
phenomenally objective (intellect-based) and Jazz noumenally
objective (soul-based).
478. Jazz-Rock is a sort of
'Bolshevik' paradox whereby Rock is advanced from a Jazz perspective,
contrasting with the 'fascism' of Trad Jazz and the 'nazism' of Jazz-Classical.
479. If Rock, as a form of
Pop, is of the World, then the only thing which is beyond it is Folk, conceived
as a classless music with noumenally subjective
overtones.
480. Since
noumenal subjectivity correlates with the spirit, it
could be said that Folk is the classless music of a spirit-biased photon
equivalence.
481. Hence one would have an
absolute distinction between Jazz and Folk, soul and spirit, with the former
diabolic and the latter divine.
482. By contrast, the
distinction between Classical and Pop would be relative, since intellect and
will are phenomenal, and therefore less extreme than soul and spirit.
483. Hence a
purgatorial/mundane distinction between Classical (including Romantic) and Pop
(including Rock), with Romantic being a mundane approach to Classical and Rock,
by contrast, a purgatorial approach to Pop.
484. Thus it could be said
that whereas Romantic is 'Catholic' Classical, Rock, by contrast, is
'Protestant' Pop, since the one is more instinctual than intellectual, and the
other more intellectual than instinctual.
485. Blues
is a folksy approach to Jazz, whereas Gospel is a jazzy approach to Folk.
486. Broadly, each type of
music is divisible into an alpha and an omega pole on the basis of a
vocal/instrumental dichotomy.
487. Of
the four main kinds of music, viz. Jazz, Pop, Classical, and Folk, Classical is
the only 'dead' music, since it is affiliated, through the intellect, with the
lunar, and thus is dependent on scores.
488. Jazz, Pop, and Folk are
'live' kinds of music which, whether extrinsically or intrinsically, are
independent of scores.
489. Jazz, being affiliated
to the solar, is extrinsically emotional, whereas Folk, with its stellar
affiliation, is intrinsically spiritual.
490. Pop, being affiliated to
the worldly (planar), is intrinsically instinctual.
491. Even though Rock is a
'Protestant', and therefore purgatorial, approach to Pop, it is still a
working-class form of music.
492. Likewise, Romantic is
still middle class even though it is a 'Catholic', and hence mundane, approach
to Classical.
493. To contrast the
aesthetics of Pop (including Rock) with the ethics of Classical (including
Romantic).
494. To contrast the
ethnicity of Jazz (including the Blues) with the theism of Folk (including
Gospel).
495. Because Folk is arguably
the ultimate music, it is likely that only Folk would be given active
encouragement in the (Social Theocratic) '
496. Where
there is Folk, as in
497. The intrinsic pitch of
Folk contrasts absolutely with the extrinsic rhythms of Jazz.
498. The intrinsic harmonies
of Pop contrast relatively with the extrinsic melodies of Classical.
499. The salvation of the Pop
World in and by the Folk Heaven.
500. The damnation of the
Classical Overworld (purgatorial) in and by the Jazz
Hell.