CYCLE NINE

1. In music, as in life, sensibility is 'up-tempo' and sensuality 'laid back'.

2. All the best music is 'up-tempo', which is to say quick or fast.

3. Rhythm is the will of music, but only when music is metachemical, or fiery, is rhythm properly rhythmic.

4. When music is chemical, or watery, rhythm is quasi-harmonic and therefore 'once bovaryized'.

5. When music is physical, or vegetative, rhythm is quasi-melodic and therefore 'twice bovaryized'.

6. When music is metaphysical, or airy, rhythm is quasi-pitchful and therefore 'thrice bovaryized'.

7. Harmony is the spirit of music, but only when music is chemical, or watery, is harmony properly harmonic.

8. When music is metachemical, or fiery, harmony is quasi-rhythmic and therefore 'once bovaryized'.

9. When music is metaphysical, or airy, harmony is quasi-pitchful and therefore 'twice bovaryized'.

10. When music is physical, or vegetative, harmony is quasi-melodic and therefore 'thrice bovaryized'.

11. Melody is the ego of music, but only when music is physical, or vegetative, is melody properly melodic.

12. When music is metaphysical, or airy, melody is quasi-pitchful and therefore 'once bovaryized'.

13. When music is metachemical, or fiery, melody is quasi-rhythmic and therefore 'twice bovaryized'.

14. When music is chemical, or watery, melody is quasi-harmonic and therefore 'thrice bovaryized'.

15. Pitch is the soul of music, but only when music is metaphysical, or airy, is pitch properly pitchful.

16. When music is physical, or vegetative, pitch is quasi-melodic and therefore 'once bovaryized'.

17. When music is chemical, or watery, pitch is quasi-harmonic and therefore 'twice bovaryized'.

18. When music is metachemical, or fiery, pitch is quasi-rhythmic and therefore 'thrice bovaryized'.

19. As the art form of air rather than of vegetation (literature), water (sculpture), or fire (painting), music is most true to itself in metaphysics, more (relative to most) true to itself in physics, less (relative to least) true to itself in chemistry, and least true to itself in metachemistry.

20. Therefore music that is properly musical will be of the soul; music that is quasi-literary, and 'once bovaryized', will be of the ego; music that is quasi-sculptural, and 'twice bovaryized', will be of the spirit; and music that is quasi-painterly, and 'thrice bovaryized', will be of the will.

21. Thus the most soulful music will be essential in its concern with contentment; the more (relative to most) soulful music (egocentric, or intellectual) will be qualitative in its concern with form; the less (relative to least) soulful music (spiritual) will be quantitative in its concern with glory; and the least soulful music (wilful, or instinctual) will be apparent in its concern with power.

22. Rhythm, harmony, melody, and pitch - the will, spirit, ego, and soul of music, whether in relation to metachemistry, chemistry, physics, or metaphysics.

23. Music, to repeat, is the metaphysical art form par excellence, essentially centred in the attainment of soul.

24. Literature, on the other hand, is the physical art form par excellence, qualitatively centred in the form of ego.

25. Sculpture, by contrast, is the chemical art form par excellence, quantitatively rooted in the glory of spirit.

26. Painting, on the other hand, is the metachemical art form par excellence, apparently rooted in the power of will.

27. In general terms, it could be said that painting and sculpture stand objectively aloof, on the female side of the gender fence, from literature and music, their subjective, and therefore male, counterparts.

28. Music and literature overlap in song; music and sculpture overlap in dance; music and painting overlap in opera, i.e. musical theatre.

29. Music and meditation are antithetical modes of metaphysics. The more music the less meditation, and vice versa.

30. Piping is as much the sensibility of music as chanting the sensuality of meditation.

31. Therefore piping is a much the exception to the musical rule as chanting the exception to the meditative rule.

32. To contrast the fundamentalism of painting with the transcendentalism of music, and the nonconformism of sculpture with the humanism of literature.

33. To contrast the materialism of antipainting with the idealism of antimusic, and the realism of antisculpture with the naturalism of anti-literature.

34. It is easier to be an artist or a sculptor than both an artist and a sculptor, for the simple reason that it is easier or more logical to be upper class or lower class than both upper and lower class on the female side of the gender fence (objective).

35. It is easier to be a writer or a musician than both a writer and a musician, for the simple reason that it is easier or more logical to be lower class or upper class than both lower and upper class on the male side of the gender fence (subjective).

36. Nevertheless, people who are both painters and sculptors are no less possible than people who are both writers and musicians - even if more an exception to the general rule (of class partisanship).

37. Of course, only per se orders of painting and music can be regarded as upper class, just as only per se orders of sculpture and literature can be regarded as lower class. - A complex subject which I shall not enlarge upon here ... except to say that in literature, for instance, poetry and philosophy are quasi-upper class compared to drama and fiction, but that only a certain approach to poetry and philosophy could be properly so described, an approach, that is, involving rhymed stanzas on the one hand and spaced aphorisms on the other.