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METAPHYSICAL SALVATION

462. For those whose submasculinity is only tangential to a sensible masculine fulcrum, however, no such rejection is required, for they are already in a position, through plutocracy, of preponderating sensibility, and need only abandon theocratic sensuality in order to achieve meritocratic sensibility in due Superchristian course, as and when the opportunity arises.

463. One could argue that they are akin to writers, say philosophers, who advocate not praying but meditating, not vegetative sensibility but airy sensibility, and all because for them music, the art form of airy sensuality par excellence, is a hobby or pastime rather than the main concern of their professional lives.

464. For how, by a converse token, could the professional musician cut his own throat, so to speak, by advocating meditation, and hence respiratory sensibility, at the expense of the aural sensuality of music? His musical commitment would surely suffer, and he would become less accomplished as a musician the more he turned against it in pursuance of meditative praxis.

465. But the writer, or exponent of cerebral sensibility, may well feel that respiratory sensibility is more desirable than aural sensuality, as well as more desirable, from a class-evolutionary standpoint, than his own brand of sensibility, and therefore be more inclined to advocate it than the musician.

466. Be that as it may, there is something similar in the relationship of Christianity to Subchristianity or of man to subman, where the Christian conforms to a literary parallel and the Subchristian to a musical one. Only if the latter is soft-line (and presumably Christian) rather than hard-line (and presumably Subchristian) would he be able to take the writer's advice and duly abandon music for meditation, opting to be saved from aural sensuality to respiratory sensibility along the time-space axis, rising diagonally, of metaphysical supremacy.

467. For the hard-line submasculine musician, the jazz musician as opposed to the classical musician, will be locked-in to the pyramidal triangle of Superheathen sensuality in deference to the superfeminine 'First Mover' and effective exponent, in 'Her' metachemical objectivity, of the light.

468. Music, for him, will not be deferential to 'the word', to sensible physical vegetativeness, but to art, to sensual metachemical fieriness, and consequently he will be unable, barring rejection of his hard-line submasculinity, to abandon it for meditation, spurning aural sensuality in the interests of respiratory sensibility.

469. On the contrary, he will continue to 'suck up' to optical sensuality, being but a submasculine 'fall guy' for superfeminine denigration and domination from 'on high', a god who will be mistaken for and treated as the Devil (Satan/David) by that which (as Jehovah/Saul) is more genuinely diabolical than himself.

470. Where, however, there is no such deferential subjection but, rather, a deferential acknowledgement, via the Subchristian Father, of Christ, then brass is less the focus or fulcrum of music, in jazz-like vein, than strings, and such brass as is to be found in strings-centred music will be but a theocratic aside to a plutocratic fulcrum in vegetative sensibility.

471. In fact, classical music, which is arguably the music of Christians, will have brass merely as an aside, as it were, to its vegetative fulcrum in strings, just as the Father, the Subchristian God, is an aside to Christ, the actual deity (albeit more masculine than submasculine, and hence properly divine) of Christians.

472. But if classical music generally exemplifies a vegetative mean that, over the years, could be said to have increased the extent to which the airy mean of brass figures in its overall composition, it has not (works of a sonata-like order for individual instruments aside) abandoned strings altogether, and there is about the increasing accommodation of brass something, once again, of a reculer pour mieux sauter, as though brass were a precondition of something higher.

473. Which, in truth, it is, since one has to have an association with theocracy before one can be saved, via the Second Coming, to meritocracy; before, in other words, one can be expected to abandon Christianity, via Subchristianity, for Superchristianity, or the brain, via the ears, for the lungs, or Christ, via the Father, for the Holy Ghost, etc.

474. Hence brass-based Classical could be regarded as the precondition, in metaphysical sensuality, of metaphysical sensibility, in which not brass but pipes would become the appropriate backdrop for or, more correctly, musical exemplification of ... meditative praxis.

475. For if brass is ear-like in its centrifugal design, then pipes are arguably lung-like in their centripetal design, and thus a more fitting exemplification of meditation than any other types of instrument, including woodwind.

476. In fact, woodwind instruments are more suited, it seems to me, to the exemplification of prayer, in due Christian vein, and thus fall short not only of pipes but also of brass, which are more metaphysical, albeit on 'once-born' terms, than physical, and accordingly less egocentric overall.

477. However that may be, it should not be thought that the Superchristian would be given to pipes to the extent that the Subchristian is given to brass, since the emphasis in Superchristianity, and hence the 'reborn' metaphysics of Social Transcendentalism, could only be meditative, i.e., on meditation, which is something that transcends music, as the lungs transcend the ears.

478. For whereas music is the focus of aural sensuality, the focus of respiratory sensibility could only be meditation, and thus music, in the modified guise alluded to above, would have to be subordinate, as meditative exemplification, to that which properly pertained to sensible metaphysics.

479. Doubtless the more music was transcended by meditation, the purer and more genuine would metaphysical sensibility become; for meditation is not merely an alternative to music but the salvation of metaphysics from sensuality to sensibility, the theocratic ears to the meritocratic lungs.

480. Hence the more meritocratic and the less theocratic a person is, the more, as superman, will he meditate (on the breath) rather than listen to music (via the airwaves).

481. For metaphysical sensibility is as superior to metaphysical sensuality ... as physical sensibility to physical sensuality, wherein one would be conscious of cogitating and/or praying as opposed to philandering and/or copulating.

482. Of course, one cannot be completely one thing or another, nor should one strive, as a person, to become such. But one can certainly focus one's energies on one thing rather than another, and thus illustrate a preponderating predilection for either sensuality or sensibility, whether in the phenomenal realms of mass and volume or, above those, in the noumenal realms of time and space.

483. And, as a rule, one mode of sensuality will lead, via subordinate sensibility, to another, whilst, conversely, one mode of sensibility will lead, via subordinate sensuality, to another, the possibility of Christians becoming Superchristian via Subchristianity being a case in point, as I hope to have proved.