CYCLE THIRTEEN
1. Since I have been discussing the Arts quite a
lot in this text, and since the above references to art, literature, sculpture,
and music are intended to apply primarily to their per se
manifestations, I should now like to qualify that undertaking in relation to
each art form treated separately, beginning with art itself.
2. Thus I intend to divide art, conceived in
more or less traditional terms, into oil painting, water colouring, pastel
shading, and charcoal drawing, maintaining not only, as before, that an
elemental correlation exists between art and fire, but that oil painting,
approximating to fiery fire, is the per se of art, and hence that
branch of it which most corresponds to science.
3. Following which, we may conceive of water
colouring as approximating to watery fire in what amounts to a quasi-political
mode of art, pastel shading as approximating to vegetative fire in what amounts
to a quasi-economic mode of art, and charcoal drawing as approximating to airy
fire in what amounts to a quasi-religious mode of art.
4. Hence art provides us, in these four fiery
options, with distinctions between a metachemical per se, corresponding to oil painting, and three degrees
of metachemical 'bovaryization', from water colouring
and pastel shading to charcoal drawing.
5. The metachemical per se
of art (oil painting) corresponds to scientific science, the quasi-chemical 'bovaryization' of art (water colouring) corresponds to
political science, the quasi-physical 'bovaryization'
of art (pastel shading) corresponds to economic science, and the
quasi-metaphysical 'bovaryization' of art (charcoal
drawing) corresponds to religious science.
6. In all four cases
cited above, we are concerned with a fiery, and hence fundamentally barbarous,
approach to 'cultural' illustration which, being scientific, has a space-time
correlation in keeping with its metachemical basis,
through photon-photino appearances, in noumenal objectivity.
7. Likewise, literature can be divided into
poetry, drama, fiction, and philosophy, and it is my contention that not only
does an elemental correlation exist between literature and water, but that
drama, corresponding to watery water (speech) is the per se
of literature, and hence that branch of it which most corresponds to politics.
8. Following which, we may conceive of poetry as
approximating to fiery water in what amounts to a quasi-scientific mode of
literature, philosophy as approximating to airy water in what amounts to a
quasi-religious mode of literature, and fiction as approximating to vegetative
water in what amounts to a quasi-economic mode of literature.
9. Hence literature provides us, in these four
watery options, with distinctions between a chemical per se,
corresponding to drama, and three kinds of chemical 'bovaryization',
from poetry and philosophy to fiction.
10. The chemical per se
of literature (drama) corresponds to political politics, the quasi-metachemical 'bovaryization' of
literature (poetry) corresponds to scientific politics, the quasi-metaphysical
'bovaryization' of literature (philosophy)
corresponds to religious politics, and the quasi-physical 'bovaryization'
of literature (fiction) corresponds to economic politics.
11. In all four cases
cited above, we are concerned with a watery, and hence fundamentally civilized,
approach to 'cultural' illustration which, being political, has a volume-mass
correlation in keeping with its chemical basis, through electron-electrino (conventional) and/or positron-positrino (radical) quantities, in phenomenal objectivity.
12. Similarly, sculpture can be divided into reliefs, busts, figures, and carvings, and it is my
contention that not only does an elemental correlation exist between sculpture
and vegetation (earth), but that the figurative, approximating to vegetative
vegetation, is the per se of sculpture, and hence that branch of it which most
corresponds to economics.
13. Following which, we may conceive of carvings
as approximating to airy vegetation in what amounts to a quasi-religious mode
of sculpture, reliefs as approximating to fiery
vegetation in what amounts to a quasi-scientific mode of sculpture, and busts
as approximating to watery vegetation in what amounts to a quasi-political mode
of sculpture.
14. Hence sculpture provides us, in these four
vegetative options, with distinctions between a physical per se,
corresponding to the figurative, and three kinds of physical 'bovaryization', from carvings and reliefs
to busts.
15. The physical per se
of sculpture (figurative) corresponds to economic economics, the
quasi-metaphysical 'bovaryization' of sculpture
(carvings) corresponds to religious economics, the quasi-metachemical
'bovaryization' of sculpture (reliefs)
corresponds to scientific economics, and the quasi-chemical 'bovaryization' of sculpture (busts) corresponds to
political economics.
16. In all four cases cited above, we are
concerned with a vegetative, and hence fundamentally natural, approach to
'cultural' illustration which, being economic, has a mass-volume correlation in
keeping with its physical basis, through neutron-neutrino (conventional) and/or
deuteron-deuterino (radical) qualities, in phenomenal
subjectivity.
17. Finally, music can be divided into dance
(rhythm), vocal (melody), instrumental (harmony), and solo (pitch), and it is
my contention that not only does an elemental correlation exist between music
and air, but that pitchful solo, corresponding to
airy air, is the per se of music, and hence that branch of it which most
corresponds to religion.
18. Following which, we may conceive of harmonic
instrumental as approximating to vegetative air in what amounts to a
quasi-economic mode of music, melodic vocal as approximating to watery air in
what amounts to a quasi-political mode of music, and rhythmic dance as
approximating to fiery air in what amounts to a quasi-scientific mode of music.
19. Hence music provides us, in these four airy
options, with distinctions between a metaphysical per se, corresponding to pitchful
solo, and three degrees of metaphysical 'bovaryization',
from harmonic instrumental and melodic vocal to rhythmic dance.
20. The metaphysical per se
of music (pitchful solo) corresponds to religious
religion, the quasi-physical 'bovaryization' of music
(harmonic instrumental) corresponds to economic religion, the quasi-chemical 'bovaryization' of music (melodic vocal) corresponds to
political religion, and the quasi-metachemical 'bovaryization' of music (rhythmic dance) corresponds to
scientific religion.
21. In all four cases cited above, we are
concerned with an airy, and hence fundamentally cultural, approach to
'cultural' illustration which, being religious, has a time-space correlation in
keeping with its metaphysical basis, through proton-protino
essences, in noumenal subjectivity.
