1. No two writers are further apart than the poet and the philosopher - the former as Devil and the latter as God.

2. The poet is a writer of time and the philosopher, by contrast, a writer of space.

3. Musically speaking, the poet is rooted in rhythm, while the philosopher aspires, through thought, towards pitch.

4. The negative, or alpha-stemming, poet is a writer of weakness, whose time (metre) is sequential.

5. The positive, or omega-oriented, poet is a writer of strength, whose time (metre) is repetitive.

6. The Satanic poet is rooted in fire, while the fundamentalist poet is centred in the blood.

7. The negative, or alpha-stemming, philosopher is a writer of illusion, whose space (aphoristic) is spatial.

8. The positive, or omega-oriented, philosopher (theosopher) is a writer of truth, whose space (aphoristic) is spaced.

9. The Creatoresque philosopher is rooted in light, while the transcendentalist philosopher is centred in air.

10. A man is destined to be either a poet or a philosopher, diabolic or divine, rather than both.

11. The paradoxical phenomenon of the philosophical poet owes not a little to the debasement and even eradication of the Divine through the so-called space-time continuum of modern science.

12. In reality, the decadent vagaries of modern science notwithstanding, no two absolutes could be less reconcilable than space and time, the Devil and God.

13. The true philosopher may occasionally dabble in literature, or even drama, but he will never be a poet.

14. For poets and philosophers stand at opposite noumenal extremes - the former objective and the latter subjective.

15. Novelists and dramatists also stand in a contrary relationship, albeit one that is phenomenal rather than noumenal.

16. To contrast the phenomenal objectivity of the novelist with the phenomenal subjectivity of the dramatist, the former effectively masculine and the latter feminine.

17. The dramatist is a doer of mass and the novelist, by contrast, a knower of volume.

18. Musically speaking, the dramatist is rooted in harmony while the novelist aspires, through narrative, towards melody.

19. The negative, or alpha-stemming, dramatist is a writer of ugliness, whose mass is massed.

20. The positive, or omega-oriented, dramatist is a writer of beauty, whose mass is massive.

21. The antivirginal dramatist is rooted in earth, while the humanistic dramatist is centred in the flesh.

22. The negative, or alpha-stemming, novelist is a writer of evil, whose volume is volumetric.

23. The positive, or omega-oriented, novelist is a writer of good, whose volume is voluminous.

24. The antichristic novelist is rooted in water, while the nonconformistic novelist is centred in the brain.

25. A man is generally destined to be either a dramatist or a novelist, mundane or purgatorial, rather than both.

26. The paradoxical phenomenon of the dramatic novelist owes not a little to the debasement and even eradication of the mundane through what might be called the mass-volume continuum of contemporary liberal civilization.

27. In reality, the hegemonic predominance of liberal civilization notwithstanding, no two relativities could be less reconcilable than volume and mass, or man and woman.

28. The real dramatist may occasionally dabble in poetry, but he will never be a novelist.

29. If the novelist, to speak rather colloquially, is a 'prick' and the dramatist a 'cunt', then the philosopher is a 'superprick' and the poet a 'supercunt'.

30. If the novelist is nonconformistic and the dramatist, by contrast, humanistic, then the philosopher is transcendentalistic and the poet, by contrast, fundamentalistic.

31. Despite the late twentieth-century collapse of so-called Communism in Eastern Europe, Marxism remains, in some degree, a valid touchstone for future progress towards a classless millennium.

32. The so-called Communism, for example, of Eastern Europe was really quasi-fascist, and thus hardly Communism by Marxist criteria!

33. True Communism, by which is meant Social Transcendentalism, has yet to come about; but when it does, it will be infinitely superior to the quasi-fascist tradition of false Communism.

34. Unlike false Communism, which was allegedly scientific, true Communism will be religious, and thus the inevitable precondition of millennial salvation.

35. Thus true Communism will stem from real Socialism, as Social Democracy is superseded by Social Theocracy.

36. Where Socialism is republican, Democratic Socialism is parliamentary, and thus an accommodation of Socialism to Capital Democracy.

37. Democratic Socialism is the 'socialism' of a proletariat who are less affiliated to the World than to the Purgatorial Overworld, so to speak, of Parliamentary Democracy.

38. Such a proletariat are necessarily Protestant and industrial/urban, aligned with the Protestant bourgeoisie against the World and its Catholic humanism.

39. The struggle for genuine Socialism follows from a sort of Catholic premise; for only Catholic peoples are sufficiently of the World to be in favour of bureaucratic as opposed to democratic Socialism.

40. Yet Socialism is a 'sin' from which the People must be delivered, if they are to experience the spiritual salvation of true Communism.

41. Such deliverance can only happen democratically, with the express consent of the People themselves.

42. For to be delivered from 'sins of the World' is to enter into the heavenly Beyond, with the transvaluated criteria that such an entry presupposes.

43. Only a deluded fool would imagine that, in any ultimate sense, the heavenly Beyond comes after death. In reality, it comes within life beyond the World, since it is an ultimate social system and not an imaginary posthumous realm.

44. Yet it is an afterlife to the extent that it implies a type of life, necessarily eternal, beyond life as we know it in the World, as it is today and has been for several centuries.

45. The failure of Liberalism is its tolerance of evil.

46. Liberalism sits on the fence between the Devil and God, content to remain in an amoral position which enables it to have 'the best of both worlds'.

47. Not to go against the Devil to the extent that one has sided with God, but to be worldly or, more specifically, purgatorial - such is the liberal 'ideal'.

48. He who is against the Devil cannot be for Liberalism, with its hypocritical tolerance of evil.

49. The Liberal is a morally weak creature who, because of his acquiescence in evil, does no real good.

50. When Social Theocracy, the ideology of God, comes democratically to pass, both Liberalism and Fascism will be cast down upon the 'rubbish heap of history'.

51. Most Western countries are liberal and republican, capitalist and socialist, in different degrees.

52. Countries balanced between Liberalism and Republicanism are effectively heterosexual.

53. Countries biased on the side of Liberalism are effectively homosexual.

54. Countries biased on the side of Republicanism are effectively lesbian.

55. A country biased on the side of Republicanism, like Eire, has a greater chance of achieving Social Theocracy than one balanced, like France, between Liberalism and Republicanism.

56. A country biased on the side of Liberalism, like Britain, has virtually no chance of achieving Social Theocracy.

57. Ultimately, Social Theocracy can only be achieved through the Second Coming, who would not waste his time on countries with an overly liberal, or parliamentary, bias.

58. A country must, like Eire, be largely of the World and effectively humanist before it can hope to qualify for Social Theocratic salvation.

59. Provided that Liberalism and/or Republicanism are not the ruling trends, there is a fair chance that Humanism will be free enough to democratically opt for Transcendentalism, and thus salvation from the World.

60. For the World may be feminine, and phenomenally subjective, but the Social Theocratic Beyond is divine, and hence noumenally subjective - focused, through spirit, on air rather than, through will, on the flesh.

61. To abandon the feminine 'fleshpot' of the Holy Will of the World for the divine 'airhead' of the Holy Spirit of Heaven - such is the nature of salvation.

62. No man, or country, attains to salvation (from the World) except through the Second Coming, who is the bridge to the Beyond.

63. Noumenal subjectivity (subjectivism) is the absolute introversion of the heavenly.

64. Noumenal objectivity (objectivism) is the absolute extroversion of the hellish.

65. Phenomenal objectivity is the relative extroversion of the purgatorial.

66. Phenomenal subjectivity is the relative introversion of the mundane.

67. The noumenal subjectivity (wind) of Jazz contrasts with the noumenal objectivity (singing) of Soul.

68. The phenomenal subjectivity (dance) of Pop contrasts with the phenomenal objectivity (instrument-based song) of Rock.

69. Jazz, being noumenally subjective, is divine, whereas Soul, being noumenally objective, is diabolic.

70. Pop, being phenomenally subjective, is feminine, whereas Rock, being phenomenally objective, is masculine.

71. Since salvation is from the World to Heaven, one might speak of the salvation of Pop by Jazz, or of phenomenal subjectivity (dance) by noumenal subjectivity (wind).

72. Since damnation is from Purgatory to Hell, one might speak of the damnation of Rock by Soul, or of phenomenal objectivity (instrument-based song) by noumenal objectivity (free singing).

73. The purgatorial 'First' shall be hellishly Last, and the mundane 'Last' shall be heavenly First.

74. Jazz is the music of spirit, and could alternatively be termed spirit music.

75. Soul is indeed the music of soul, and is rightly termed soul music.

76. Rock is the music of intellect, and could alternatively be termed intellect music.

77. Pop is the music of will, and could alternatively be termed will music.

78. Broadly, Jazz, Soul, Rock, and Pop are all modern, and therefore electric, forms of music.

79. Classical music stands to popular music as a kind of bourgeois omega to a proletarian alpha, the former acoustic and the latter electric.

80. Classical music is 'contemporary' only in the sense that Christian bourgeois criteria co-exist with and often overlap the more-or-less heathen proletarian criteria of the modern age.

81. In this sense, a more naturalistic omega co-exists with an artificial alpha, the essence of which is cruder, albeit more evolved.

82. Suits and ties co-exist, on the above basis, with jeans and T-shirts.

83. Books co-exist, on the above basis, with films.

84. Classical music co-exists, on the above basis, with popular music.

85. The concerto is the classical equivalent of Jazz, that most idealistic of the popular art forms.

86. Opera is the classical equivalent of Soul, that most naturalistic of the popular art forms.

87. The symphony is the classical equivalent of Rock, that most materialistic of the popular art forms.

88. Ballet is the classical equivalent of Pop, that most realistic of the popular art forms.

89. The fulcrum of classical music, which is a bourgeois art form, is the symphony.

90. The fulcrum of popular music, which is a proletarian art form, is Pop.

91. Classical music is the civilized music of a materialistic class, the middle class.

92. Popular music is the barbarous music of a realistic class, the working class.

93. The future lies not in the barbarism of working-class music, but in the culture of classless music.

94. Classless music will be like Jazz, but more electronic.

95. To distinguish, on an alpha/omega basis, between the 'republicanism' of Hard Pop and the 'humanism' of Soft Pop.

96. Similarly, to distinguish between the 'parliamentarianism' of Hard Rock and the 'nonconformism' of Soft Rock.

97. Likewise, to distinguish between the 'fascism' of Hard Soul and the 'fundamentalism' of Soft Soul.

98. To distinguish, finally, between the 'communism' of Hard Jazz and the 'transcendentalism' of Soft Jazz.

99. Hard music differs from soft music by being both more reactive and aggressive.

100. Soft music differs from hard music by being both more attractive and passive.

101. Where hard music is generally reactive and aggressive, soft music, by contrast, is generally attractive and passive (gentle).

102. Not only Hard Rock, but Hard Pop, Hard Soul, and Hard Jazz are all more aggressive than their soft-pole counterparts.

103. Most people alternate between hard and soft options, as between particles and wavicles, the former secular and the latter religious.

104. Some people are more biased towards hard music, others towards soft music, but they tend to be a minority overall.

105. A hard-line Communist, whose musical equivalence is Hard Jazz, may be identified with a leading-class status.

106. A hard-line Transcendentalist, whose musical equivalence is Soft Jazz, may be identified with a classless status.

107. Hence a leading-class/classless distinction between the alpha and omega of the Jazz spectrum.

108. A hard-line Fascist, whose musical equivalence is Hard Soul, may be identified with a ruling-class status.

109. A hard-line Fundamentalist, whose musical equivalence is Soft Soul, may be identified with an upper-class status.

110. Hence a ruling-class/upper-class distinction between the alpha and omega of the Soul spectrum.

111. A hard-line Parliamentarian, whose musical equivalence is Hard Rock, may be identified with a governmental and/or managerial class status.

112. A hard-line Nonconformist, whose musical equivalence is Soft Rock, may be identified with a middle-class status.

113. Hence a governing-class/middle-class distinction between the alpha and omega of the Rock spectrum.

114. A hard-line Republican, whose musical equivalence is Hard Pop, may be identified with a working-class status.

115. A hard-line Humanist, whose musical equivalence is Soft Pop, may be identified with a lower-class status.

116. Hence a working-class/lower-class distinction between the alpha and omega of the Pop spectrum.

117. The lower class, including soft-line lower-class people, are the only class that can be saved to hard-line Transcendentalism, which is classless.

118. This is because the lower class are of the humanist World (as against the republican World or, more correctly, Antiworld), and are therefore in a moral position to be saved by and in the transcendentalist Heaven.

119. Their moral position is one of wavicle-biased (attractive) phenomenal subjectivity, which is an effective denial of the will through the Blessed Virgin, and which can therefore be transcended, via the Second Coming, in the wavicle-biased (attractive) noumenal subjectivity of the transcendental Beyond.

120. To distinguish the positively relative morality of denial of the will from the negatively relative morality of affirmation of the will, thereby effectively distinguishing Humanism from its republican antithesis.

121. To distinguish the positively relative immorality of denial of the intellect from the negatively relative immorality of affirmation of the intellect, thereby effectively distinguishing Nonconformism from its parliamentary antithesis.

122. To distinguish the positively absolute immorality of denial of the soul from the negatively absolute immorality of affirmation of the soul, thereby effectively distinguishing Fundamentalism from its fascist antithesis.

123. To distinguish the positively absolute morality of denial of the spirit from the negatively absolute morality of affirmation of the spirit, thereby effectively distinguishing Transcendentalism from its communist antithesis.

124. Denial of the will through the Blessed Virgin, as opposed to affirmation of the will through the Cursed Whore.

125. Denial of the intellect through Christ, as opposed to affirmation of the intellect through the Antichrist.

126. Denial of the soul through the Father, as opposed to affirmation of the soul through the Antifather (Satan).

127. Denial of the spirit through the Holy Spirit, as opposed to affirmation of the spirit through the Antispirit (Jehovah).

128. Flesh is the human equivalent of earth, the denial of which paves the way to Heaven.

129. Mind is the human equivalent of water, the denial of which paves the way to Hell.

130. Soul is the human equivalent of fire, the denial of which is Hell.

131. Spirit is the human equivalent of light, the denial of which is Heaven.

132. To deny the flesh is to affirm beauty.

133. To deny the mind is to affirm goodness.

134. To deny the soul is to affirm strength.

135. To deny the spirit is to affirm truth.

136. To affirm the flesh is to deny beauty, and thus to revel in ugliness.

137. To affirm the mind is to deny goodness, and thus to revel in evil.

138. To affirm the soul is to deny strength, and thus to revel in weakness.

139. To affirm the spirit is to deny truth, and thus to revel in illusion.

140. Ugliness, being planar (planetary), is of earth.

141. Evil, being lunar, is of water.

142. Weakness, being solar, is of fire.

143. Illusion, being stellar, is of light.

144. Beauty, being mundane, is of the World.

145. Goodness, being purgatorial, is of the Overworld.

146. Strength, being diabolic, is of Hell.

147. Truth, being divine, is of Heaven.

148. To deny the alpha, which is apparent, is to affirm the omega, which is essential.

149. To deny light (spirit) in order to affirm truth (air).

150. To deny fire (soul) in order to affirm strength (race).

151. To deny water (intellect) in order to affirm goodness (the Bible).

152. To deny earth (flesh) in order to affirm beauty (art).

153. Truth is affirmed through the sublimated spirit of air.

154. Strength is affirmed through the sublimated soul of blood.

155. Goodness is affirmed through the sublimated intellect of the Word (New Testament).

156. Beauty is affirmed through the sublimated flesh of art.

157. To deny the personal spirit of light (optics) in order to affirm the universal spirit of air, thereby passing from illusion (the Clear Light of the Void) to truth (the Holy Spirit of Heaven).

158. To deny the personal soul of fire (emotions) in order to affirm the universal soul of blood (race), thereby passing from weakness (the Clear Heat of Time) to strength (the Holy Soul of Hell).

159. To deny the personal mind of water (thoughts) in order to affirm the universal mind of the Bible (New Testament), thereby passing from evil (the Clear Coldness of Volume) to goodness (the Holy Mind of Purgatory).

160. To deny the personal will of earth (fleshy sensations) in order to affirm the universal will of art (paintings), thereby passing from ugliness (the Clear Darkness of Mass) to beauty (the Holy Will of the World).

161. That which is universal, on whichever spectrum, is shared by all, and brings people together.

162. That which is personal, on whichever spectrum, is germane to the person, and tends to drive people apart.

163. The universal enhances collectivity/collectivism, whereas the personal enhances individuality/individualism.

164. Whether one's universality is phenomenal or noumenal, the end result can only be virtuous.

165. Whether one's personality is phenomenal or noumenal, the consequence can only be vicious.

166. Phenomenal universality, being positive, is relatively immoral in the context of goodness, and relatively moral in the context of beauty.

167. Noumenal universality, being positive, is absolutely immoral in the context of strength, and absolutely moral in the context of truth.

168. Phenomenal personality, being negative, is relatively immoral in the context of evil, and relatively moral in the context of ugliness.

169. Noumenal personality, being negative, is absolutely immoral in the context of weakness, and absolutely moral in the context of illusion.

170. Individuality/individualism is the curse of personality, whereas collectivity/collectivism is the blessing of universality.

171. The personality of the Devil, which (being absolutist) is hellish, contrasts absolutely with the universality of God.

172. The personality of Man, which (being relativistic) is purgatorial, contrasts relatively with the universality of Woman.

173. From the standpoint of subjective universality, objective universality is a damnation - whether relatively vis-à-vis the phenomenal or absolutely vis-à-vis the noumenal.

174. Denial of the will (sexuality) through art paves the way for salvation in and through air.

175. Denial of the mind (intellectuality) through the Bible (New Testament) paves the way for damnation in and through the blood.

176. The noumenal lies in wait to take over from phenomenal denial, since the noumenal is absolute, and hence ultimate.

177. Art has no other business than to encourage worldly denial, i.e. denial of the will.

178. That which encourages the will is not art but anti-art.

179. Traditionally, the Blessed Virgin is the principal symbol of worldly denial, since beauty makes for the finest art.

180. From the male standpoint, the Crucifixion remains the most enduring symbol of worldly denial - a denial of the will through love.

181. Christian love paves the way for the Resurrection, and hence the attainment of transcendent joy through the affirmation of universal spirit, or air.

182. Until a man has died to the flesh, he cannot be reborn into the eternity of the universal self and thereby become the Holy Spirit of Heaven.

183. The lightness of air can only deliver that man from the heaviness of the flesh who has already rejected the World and effectively become an artist.

184. For the artist is the quintessential embodiment of worldly rejection, who both rejects and is rejected by the World.

185. Those who are of the World, and hence the flesh, cannot be saved; for they are too sunk in heaviness to appreciate art.

186. It is not the Blessed Virgin but the Cursed Whore who presides over the wilful affirmations of these sinners, the ugliness of whose anti-art is rooted in pain.

187. Traditionally, the Christian West has known two Heavens and two Hells - the Heaven and Hell of the Old Testament on the one hand, and the Heaven and Hell of the New Testament on the other hand.

188. The Heaven of the Old Testament is the cosmic abode of Jehovah, whereas its Hell is the solar (fiery) abode of Satan.

189. The Heaven of the New Testament is the airy abode of Christ, whereas its Hell is effectively the fleshy abode of the Magdalene.

190. Hence Western civilization was torn between the cosmic dichotomy of Old-Testament Judaism and its own rather more worldly dichotomy of New-Testament Christianity - superimposing upon oriental tradition an occidental modernism which, for most Western people, is still the touchstone of damnation and salvation.

191. The ultimate Christian Hell is of course the fiery core of the Earth which, as the centre of earthly gravity, contrasts with the airy lightness of the stratosphere.

192. Between the Christian absolutes of fiery Hell and airy Heaven, Western man runs his diurnal course, torn rather more between the breath of 'Heaven on Earth' and the flesh (sex) of 'Hell on Earth'.

193. The Romantic may affirm the fleshy 'Hell on Earth' of sexual will, but the Classicist denies it in the name of beauty, and hence art.

194. Classicism remains on the aesthetic surface, whereas Romanticism delves beneath the surface in pursuit of fiery depths, thereby disinterring Hell.

195. The Romanticist, who is an anti-artist, can never be saved; for he is sunk too deeply in the heaviness of fleshy and/or fiery pain to have any inkling of worldly rejection.

196. The Romanticist is a republican phenomenon whose hellish activity contrasts with the will-less passivity of the (Catholic) Classicist.

197. Both Romanticism and Classicism are New Testament phenomena, with particular reference to the World.

198. Expressionism and Impressionism, by contrast, are effectively Old Testament noumena, since they are rooted in the emotions (heat) and in the spirit (light) respectively.

199. There is thus something Neo-Oriental or Neo-Judaic about Expressionism and Impressionism, albeit relative to the decadence of Western civilization.

200. The Expressionist is aligned with the Romanticist, and the Impressionist with the Classicist.