901. Hence whereas evil, whether objective or subjective, is centrifugal, goodness, whether objective or subjective, is centripetal.

902. The outer light stands to the inner light as the barbarous to the civilized, since civilization is implosive whereas barbarism is explosive.

903. The outer spirit stands to the inner spirit as the natural to the cultural, since culture is impressive whereas nature is expressive.

904. Hence science is barbarous when explosive, as in the outer light, but civilized when implosive, as in the inner light.

905. Likewise religion is natural when expressive, as in the outer spirit, but cultural when impressive, as in the inner spirit.

906. Strictly speaking, religion can no more be barbarous or civilized than science natural or cultural.

907. Similarly, theosophy can no more be explosive or implosive than philosophy expressive or impressive.

908. Civilization may be the redemption of barbarism, but it cannot lead to the cultural; for the light is an end-in-itself, not a means to the spirit.

909. Light thrives in a vacuum, whether that vacuum is explosive or implosive, whereas spirit can only thrive in a plenum, whether that plenum be expressive or impressive.

910. Civilization is thus an end-in-itself and not a means to cultural salvation, an end that will erect fences around itself to protect the inner light from its barbarous and/or natural enemies.

911. Because light and spirit are antithetical, the one objective and the other subjective, they must remain forever apart, incapable of being reconciled to the same goal.

912. In fact, light is a beginning and spirit an ending, the outer light a barbarous beginning and the inner light a civilized end-of-the-beginning, in contrast to which the outer spirit is a natural beginning-of-the-end and the inner spirit a cultural ending.

913. Only the natural can be redeemed in and by the cultural, passing from outer to inner spirit as the plenum evolves from collective expression to individual impression.

914. By contrast, the vacuum of light devolves from public explosion to private implosion, as it passes from barbarism to civilization.

915. Civilization is thus, paradoxically, the 'salvation' of the light from public to private, noumenal to phenomenal; culture, by contrast, the salvation of the spirit from collective to individual, phenomenal to noumenal.

916. Whereas the outer light is superheathen and the inner light heathen, the outer spirit is Christian and the inner spirit Superchristian.

917. Thus from the noumenal objectivity of the outer light (explosive) to the phenomenal objectivity of the inner light (implosive), as from elemental to molecular photon particles.

918. Thus from the phenomenal subjectivity of the outer spirit (expressive) to the noumenal subjectivity of the inner spirit (impressive), as from molecular to elemental photon wavicles.

919. To devolve from wind instruments, e.g. saxophones, to whistles, as from barbarism to civilization, but to evolve from singing to piping, e.g. uilleann pipes, as from nature to culture.

920. Impression is the spirit's quest and ultimate goal, the journey's end which will only come fully to pass when the light has been eclipsed and spirit can turn from expression to its own impressive Heaven in the classless salvation of a centripetal subjectivity, enrapt in the inner supra-selfish beatitude of the Holy Spirit of Heaven for all Eternity.

921. Poetry, being a discipline of the spirit, can be expressionistic or impressionistic, expressive or impressive, but the best and most evolved poetry will always be impressionistic, seeking to create an impression of the Divine.

922. The highest poetry can only be spiritual, not emotional, intellectual, or instinctual, since the spirit is closer to the Divine than are the soul, the intellect, or the will.

923. When poetry is truly spiritual it is abstract, corresponding to the noumenal subjectivity/subjectivism of Heaven.

924. When abstract poetry is readerly it is expressive, and therefore subjective in a relative way, though when such poetry is non-readerly, e.g. when it can only be contemplated (as a patterned entity), it is impressive, and therefore absolutely subjective.

925. Relative abstract poetry is the poetry of noumenal individuality, whilst absolute abstract poetry is the poetry of noumenal individualism.

926. When poetry is emotional it is lyrical, corresponding to the noumenal objectivity/objectivism of Hell.

927. When lyric poetry is rhymed it is expressive, and therefore objective in a relative way, though when such poetry is non-rhymed it is impressive, and therefore absolutely objective.

928. Relative lyric poetry is the poetry of noumenal collectivity, whilst absolute lyric poetry is the poetry of noumenal collectivism.

929. When poetry is intellectual it is narrative, corresponding to the phenomenal objectivity/objectivism of Purgatory.

930. When narrative poetry is rhymed it is expressive, and therefore objective in a relative way, though when such poetry is non-rhymed it is impressive, and therefore absolutely objective.

931. Relative narrative poetry is the poetry of phenomenal individuality, whilst absolute narrative poetry is the poetry of phenomenal individualism.

932. When poetry is instinctual it is dramatic, corresponding to the phenomenal subjectivity/subjectivism of the World.

933. When dramatic poetry is rhymed it is expressive, and therefore subjective in a relative way, though when such poetry is non-rhymed it is impressive, and therefore absolutely subjective.

934. Relative dramatic poetry is the poetry of phenomenal collectivity, whilst absolute dramatic poetry is the poetry of phenomenal collectivism.

935. Just as abstract poetry is intended to be contemplated, so dramatic poetry is intended to be acted.

936. Just as lyric poetry is intended to be sung, so narrative poetry is intended to be narrated.

937. The heavenly poetry of the contemplator/thinker contrasts with the hellish poetry of the singer/hearer.

938. The purgatorial poetry of the narrator/reader contrasts with the mundane poetry of the actor/speaker.

939. Both dramatic and abstract poetry are, as we have seen, subjective kinds of poetry - the former of the World and the latter of Heaven.

940. Both lyric and narrative poetry are, as we have seen, objective kinds of poetry - the former of Hell and the latter of Purgatory.

941. When prayer is sung we get hymns.

942. When lyric poetry is sung we get songs.

943. When narrative poetry is sung we get musicals.

944. When dramatic poetry is sung we get operas.

945. Civilization stands to barbarism as a good Devil to an evil Devil, or as phenomenal objectivity to noumenal objectivism.

946. Culture stands to nature as a good God to an evil God, or as noumenal subjectivism to phenomenal subjectivity.

947. Better an evil God than a good Devil, since an evil God can at least be saved to and by a good God, whereas a good Devil can only be damned to and by an evil Devil.

948. The outer spirit of an evil God can only be superseded by the inner spirit of a good God, as nature is saved by culture.

949. The inner light of a good Devil can only be eclipsed by the outer light of an evil Devil, as civilization is damned by barbarism.

950. Purgatory is a good Hell, which contrasts with the evil Heaven of the World.

951. Hell is evil when absolute (noumenal) but good when relative (phenomenal), while Heaven is evil when relative (phenomenal) but good when absolute (noumenal).

952. Christ contrasts with the Mother as the 'God' of good Hell (Purgatory) with the God(dess) of evil Heaven (the World).

953. The Holy Spirit contrasts with the Father as the God of good Heaven (air) with the 'God' of evil Hell (blood).

954. The only difference between Christ (the Son) and the Antichrist is that whereas the former is a positive (neutron-wavicle) 'God' of good Hell, the latter is a negative (neutron-particle) 'God' of good Antihell.

955. The only difference between the Mother (the Blessed Virgin) and the Antimother (the Cursed Whore) is that whereas the former is a positive (electron-wavicle) God(dess) of evil Heaven, the latter is a negative (electron-particle) God(dess) of evil Antiheaven.

956. The only difference between the Holy Spirit and the Antispirit (Jehovah/Clear Light of the Void) is that whereas the former is a positive (photon-wavicle) God of good Heaven, the latter is a negative (photon-particle) God of good Antiheaven.

957. The only difference between the Father and the Antifather (Satan) is that whereas the former is a positive (proton-wavicle) 'God' of evil Hell, the latter is a negative (proton-particle) 'God' of evil Antihell.

958. The coldness of water (antimind) contrasts with the dullness of mind (intellect).

959. The darkness of earth (antiwill) contrasts with the heaviness of flesh (will).

960. The light of space (cosmic antispirit) contrasts with the lightness of air (universal spirit).

961. The heat of fire (antisoul) contrasts with the brightness of blood (soul).

962. All spirit, whether outer or inner, is positive, i.e. subjective, while all light, whether outer or inner, is negative, i.e. objective.

963. The inner light of classical music contrasts with the outer spirit of pop music.

964. The inner spirit of folk music contrasts with the outer light of jazz music.

965. The inner light of Classical is damned to and by the outer light of Jazz.

966. The outer spirit of Pop is saved to and by the inner spirit of Folk.

967. The inner light of Classical is confirmed by the use of comparatively (in relation to Jazz) centripetal wind instruments like oboes, flutes, clarinets, etc.

968. The outer light of Jazz is confirmed by the use of comparatively (in relation to Classical) centrifugal wind instruments like saxophones, trumpets, trombones, etc.

969. The inner spirit of Folk is confirmed by recourse to centripetal instruments like harmoniums, uilleann pipes, accordions, etc.

970. The outer spirit of Pop is confirmed by recourse to the human voice, in song.

971. The instrumental light is a tubular vacuum and the instrumental spirit an air-filled plenum.

972. Classical civilization is damned by Jazz barbarism, whereas Pop nature is saved by Folk culture.

973. From the outer light - relative to materialism - of television to the inner spirit of computers via the outer spirit of radio and the inner light of video.

974. From the outer light - relative to realism - of magazines to the inner spirit of books (i.e. paperbacks) via the outer spirit of newspapers and the inner light of co-mags (comic books).

975. From the outer light - relative to naturalism - of cinema to the inner spirit of games machines via the outer spirit of jukeboxes and the inner light of film slides.

976. From the outer light - relative to idealism - of dreams to the inner spirit of LSD trips via the outer spirit of visions and the inner light of fantasies.

977. Terrestrial television is a sort of realistic outer light which was destined to be partially eclipsed by the materialistic inner light of video - barbarism, losing ground to civilization.

978. But barbarism fights back in the naturalistic guise of satellite television, a more absolute outer light which is the effective damnation of video - civilization losing ground to superbarbarism.

979. Were satellite television the end of the story, there would be no hope for video; but, inevitably, the emergence of video from the shadows of satellite TV presupposes the development of computer-accessed videos, thereby bringing video to the idealistic inner light of a multi-option accessibility - superbarbarism losing ground, in all probability, to supercivilization.

980. From the realistic barbarism of a natural age to the idealistic civilization of a cultural age via the materialistic civilization of a civilized age and the naturalistic barbarism of a barbarous age - Man against Woman, the Devil against Man, and, finally, God against the Devil, with God ultimately destined to triumph.

981. The backbrain and the right midbrain appertain to the old brain, while the left midbrain and the forebrain appertain to the new brain.

982. A humanist society, rooted in the World, is effectively of the left midbrain, whereas that which, as a transcendentalist society, goes beyond the World is effectively of the forebrain.

983. A nonconformist society, centred in Purgatory, is effectively of the right midbrain, whereas that which, as a fundamentalist society, goes behind Purgatory is effectively of the backbrain.

984. When 'the subjective' are sovereign, whether politically (republican) or religiously (transcendentalist), the new brain is free of the old brain.

985. When 'the objective' are sovereign, whether politically (parliamentary) or religiously (fundamentalist), the old brain is bound to oppress the new brain.

986. The backbrain is akin to the sun and the right midbrain to the moon, the former given to the outer light and the latter to the inner light.

987. By contrast, the left midbrain is akin to the earth and the forebrain to the airy Beyond, the former given to the outer spirit and the latter to the inner spirit.

988. The new brain stretches, in its subjectivity, beyond the old brain in much the same way that the World and Heaven stretch beyond the objectivity of Hell and Purgatory.

989. A secret society is no less the shadow side of a public lifestyle than a debating society the bright side of a private lifestyle.

990. Since public lifestyles tend to be upper class and private ones middle class, it need not surprise us that secret societies and debating societies are especially favoured by the upper and middle classes respectively.

991. Whereas the public lifestyle is Satanic, the secret society is effectively of the Father.

992. Whereas the private lifestyle is Antichristic, the debating society is effectively of the Son.

993. Hence the fundamentalist nature of Freemasonry, as compared with the nonconformist nature of Puritanism.

994. If Freemasonry is an upper-class approach (of the Father) to religion, then Puritanism is arguably its middle-class counterpart - the former noumenally objective and the latter phenomenally objective.

995. A humanist society can only be free of both secret and debating societies in the interests of impersonal/transpersonal subjectivity.

996. An impersonal service is no less the converse side of a collective lifestyle than a transpersonal service the converse side of an individual lifestyle.

997. Since collective lifestyles tend to be working class and individual ones classless, it won't surprise us that impersonal services and transpersonal services are especially favoured by the working class and the classless respectively.

998. Whereas the collective lifestyle is of the Antimother, the impersonal service is effectively of the Mother.

999. Whereas the individual lifestyle is of the Antispirit, the transpersonal service is effectively of the Holy Spirit.

1000. Hence the humanist nature of Catholicism, as compared with the transcendentalist nature of Social Theocracy.