LITERARY ALTERNATIVES

1. Since the field of literature is broadly divisible between poetry, drama, fiction, and philosophy, one should distinguish the noumenal objectivity of poetry from the noumenal subjectivity of philosophy, and each of these from the phenomenal disciplines 'down below' of drama and fiction - the former objective and the latter subjective.

2. Thus literature provides us with a gender-based distinction between the objectivity of poetry and drama on the one hand, and the subjectivity of fiction and philosophy on the other hand - the former disciplines broadly female and the latter ones no less broadly male.

3. Since literature is divisible between the devility (superfeminine to subfeminine) of poetry and the divinity (submasculine to supermasculine) of philosophy on the noumenal planes of space and time, it is therefore divisible between the metachemical libertarianism of space-time devolution and the metaphysical conservatism of time-space evolution, as between materialism and/or fundamentalism on the one hand, and idealism and/or transcendentalism on the other - negative and positive approaches, respectively, to ultra-libertarianism and ultra-conservatism.

4. Since literature is also divisible between the femininity (upper feminine to lower feminine) of drama and the masculinity (lower masculine to upper masculine) of fiction on the phenomenal planes of volume and mass, it is therefore divisible between the chemical libertarianism of volume-mass devolution and the physical conservatism of mass-volume evolution, as between realism and/or nonconformism on the one hand, and naturalism and/or humanism on the other - negative and positive approaches, respectively, to libertarianism and conservatism.

5. Thus as the literary discipline primarily conceived, when true to itself, within the space-time axis of metachemical libertarianism, poetry is the verbal vehicle for the expression of either ugliness and hatred (negative) or beauty and love (positive) - the former arguably antipoetic in its materialistic primacy and the latter alone fully poetic in relation to fundamentalist supremacy.

6. As the literary discipline primarily conceived, when true to itself, within the volume-mass axis of chemical libertarianism, drama is the verbal vehicle for the compression of either weakness and humility (negative) or strength and pride (positive) - the former arguably antidramatic in its realistic primacy and the latter alone fully dramatic in relation to nonconformist supremacy.

7. Conversely, as the literary discipline primarily conceived, when true to itself, within the mass-volume axis of physical conservatism, fiction is the verbal vehicle for the depression of either ignorance and pain (negative) or knowledge and pleasure (positive) - the former arguably antifictional in its naturalistic primacy and the latter alone fully fictional in relation to humanist supremacy.

8. Finally, as the literary discipline primarily conceived, when true to itself, within the time-space axis of metaphysical conservatism, philosophy is the verbal vehicle for the impression of either falsity and woe (negative) or truth and joy (positive) - the former arguably antiphilosophic in its idealistic primacy and the latter alone fully philosophic in relation to transcendentalist supremacy.

9. To contrast the ultra-libertarianism of ugliness and hatred and/or beauty and love with the ultra-conservatism of falsity and woe and/or truth and joy, as one would contrast poetry with philosophy either in primal or supreme, negative or positive, manifestations.

10. To contrast the libertarianism of weakness and humility and/or strength and pride with the conservatism of ignorance and pain and/or knowledge and pleasure, as one would contrast drama with fiction either in primal or supreme, negative or positive, manifestations.

11. Poetry and drama devolve from sensuality to sensibility in space-time metachemistry and volume-mass chemistry, whereas fiction and philosophy evolve from sensuality to sensibility in mass-volume physics and time-space metaphysics.

12. Just as the libertarian person is left-wing, so poets and dramatists, when true to their vocations, are left-wing literary artists - the former extreme left wing in relation to metachemical libertarianism and the latter moderate left wing in relation to chemical libertarianism.

13. Just as the conservative person is right-wing, so novelists and philosophers, when true to their vocations, are right-wing literary artists - the former moderate right wing in relation to physical conservatism and the latter extreme right wing in relation to metaphysical conservatism.

14. Thus do man and God, masculinity (lower to higher) and divinity (submasculinity to supermasculinity), struggle against woman and the Devil, femininity (higher to lower) and devility (superfemininity to subfemininity), as novelists and philosophers against dramatists and poets, for the cause of conservatism as against libertarianism, and thus for the possibility of a sensible hegemony.

15. For life is fundamentally a gender-struggle, after all, between objectivity and subjectivity, female and male, and whether sensuality dominates sensibility or sensibility transcends sensuality ... will depend on the degree to which, in primacy or supremacy, libertarianism is in the ascendant over conservatism or, conversely, conservatism becomes ascendant over libertarianism.

16. For in sensuality libertarianism is ascendant over conservatism, whether in primal or supreme modes, whereas in sensibility, by contrast, conservatism is ascendant over libertarianism, and thus masculinity and/or divinity, depending on the context, becomes ascendant over femininity and/or devility, as, in literary terms, fiction and/or philosophy over drama and/or poetry.