CYCLE SIX

1. From the perceptions of space-time objectivity to the receptions of time-space subjectivity via the deceptions of volume-mass objectivity and the conceptions of mass-volume subjectivity, as we proceed from fire to air via water and vegetation.

2. To pass from perception to deception, or vice versa, within female parameters, but from conception to reception, or vice versa, within male parameters.

3. Just as the artist perceives objects through noumenal objectivity, so the writer (the dramatist) deceives objects through phenomenal objectivity.

4. Just as the sculptor conceives subjects through phenomenal subjectivity, so the musician receives subjects through noumenal subjectivity.

5. As a rule, females are disposed to form (in ratios of most and/or more particles) to a greater extent than to content, whereas males are disposed to content (in ratios of more and/or most wavicles) to a greater extent than to form.

6. One can no more have form without content than content without form, but the ratio of the one to the other will determine to what extent the object or subject is either apparent or essential or, failing that, quantitative or qualitative.

7. That which is objective, being female, will always have a greater overall ratio of form to content, whereas that which is subjective, being male, will have a greater overall ratio of content to form.

8. Form is something one either expresses (if noumenal) or compresses (if phenomenal), while content is something one either depresses (if phenomenal) or impresses (if noumenal).

9. Expression stands to impression as particles to wavicles in Space and Time, while compression stands to depression as particles to wavicles in Volume and Mass.

10. The artist expresses fire (paint) and the writer compresses water (ink), while the sculptor depresses vegetation (clay) and the musician impresses air (notes).

11. In expressing fire, the artist represses air, while the musician, in impressing air, represses fire.

12. In compressing water, the writer represses vegetation, while the sculptor, in depressing vegetation, represses water.

13. One represses that which is not germane to one's particular field of creativity, whether in noumenal terms 'up above' or in phenomenal terms 'down below'.

14. Repression is therefore a crucial aspect of sustained commitment to any given art form, since it is only by repressing that which is contrary to one's preferred medium of creativity that one can persist in it at all.

15. Likewise the Devil represses God in order to express fire, while God represses the Devil in order to impress air.

16. In similar fashion, woman represses man in order to compress water, while man represses woman in order to depress vegetation.

17. Expression and compression are both objective dispositions, while depression and impression are their subjective counterparts.

18. Fire is the most expressive of elements and air the most impressive, just as science is the most expressive of disciplines and religion the most impressive.

19. Water is the most compressive of elements and vegetation the most depressive, just as politics is the most compressive of disciplines and economics the most depressive.

20. Females generally have greater expressive and/or compressive powers than males, just as males generally have greater depressive and/or impressive powers than females.

21. Dresses express the soul and skirts compress the id (instinct), whereas trousers depress the intellect (knowledge-forming faculty) and zippersuits impress the spirit.

22. Mind can be expressive, compressive, depressive, or impressive, because mind is a composite of emotions, dreams, thoughts, and feelings, some or most of which are repressed according to the innate disposition of the individual person and his particular circumstances at any given time.

23. A person is not born to be emotional, dreamy, thoughtful, or aware in equal measure, but to develop one or another of the elemental components according to her/his predisposition.

24. That is why, generally speaking, females are more emotional and dreamy than males, while males are correspondingly more thoughtful and spiritual than females.

25. Attempts to squeeze everybody into a general mishmash of elemental aptitudes, on the basis of gender equality, are foredoomed to failure.

26. Attempts to treat females and males as equals, whether in relation to noumenal or phenomenal criteria or, indeed, a cross between the two, flies in the face of what unnature and nature have ordained from the outset.

27. For females are unnatural according to the extent, following free will, of their objectivity, whereas males are natural according to the extent, following determinism, of their subjectivity.

28. One of the main reasons why females are forever resorting to cosmetics and other forms of artificial make-up ... is that they are fundamentally unnatural, and hence ranged against nature.

29. Nature begins in vegetation and ends in air (supernaturally). That, by contrast, which begins in fire and ends in water is unnatural.

30. Art and literature are both unnatural art forms, which are largely conditioned (expressively and compressively) by unconscious processes.

31. By contrast, sculpture and music, being natural art forms, are largely conditioned (depressively and impressively) by conscious processes.

32. Like females, art and literature reflect a greater degree of free will (in objectivity) than natural determinism, since free will stems from an unnatural precondition as an expression and/or compression of unconsciousness.

33. Like males, sculpture and music reflect a greater degree of natural determinism (in subjectivity) than free will, since determinism stems from a natural precondition as a depression and/or impression of consciousness.

34. Of course, what I have just contended applies to each of the Arts in their per se manifestations, not necessarily to their 'bovaryized' manifestations to anything like (if at all) the same extent.

35. As a writer, I have to admit that my own preferred medium, viz. aphoristic philosophy, is anything but a per se manifestation of literature but, rather, a 'bovaryization' of it that, being concerned principally with essential content, intimates, in quasi-idealistic vein, of musical idealism.

36. The literary per se is, of course, drama, wherein the tongue is in its watery element in heathenistic fashion, dominating the 'vegetative' novel and consigning to peripheral status the 'fiery' poem and the 'airy' essay.

37. That which is aphoristic, as here, is effectively 'beyond the pale' of the sort of heathenistic society and/or system in which tongue-based drama flourishes, being, to all intents and purposes, morally at the top of a literary hierarchy in which both fiction and drama have subordinate places in relation to vegetative and watery modes of literary sensibility.

38. In general terms, that which is rooted in sensuality is Protestant and, hence, at best pseudo-Christian, whereas that which is centred in sensibility is Catholic, and hence properly Christian.