{Literary Circles [continued (4)]}[29th November 1988]

[Redbook6:44)][19881129:0053]{Literary Circles [continued (4)]}[29th November 1988]

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29.0053

			NB** ¡
	Birth date	Interval (Conversion age)	Formal Conversion Date	Interval	Death date	(Age)
T. S. Eliot	28/09/1888	39	1927	38	04/01/1965	(c77)
[Difference→]		(12)				(14)
Evelyn Waugh	{28/10/)1903	27	1930	33	{10/04/}1966	(63)
Graham Greene	{2/10/}1904	22	1926	65	{03/04/1991}	(84+) nyk {86}
	↑ {(Ouch!)}*

These are, I suppose, the three best known literary converts in England this century. Waugh’s mid-life crisis/conversion was not so perfectly centred as Eliot’s, but it is interesting that he converted and died considerably younger. Greene’s (crisis? &) conversion was clearly at the end of his first Quarter-Cycle, when schizophrenia is relatively even more common than in mid-life (which if I recall correctly is the second most likely period);*** and Greene, of course, is relatively longer-lived (or rather, longer-living, good health to him).

*<881205>

[Speculatively (not by statistical results but by speculative interpolation into results which were obtained by independent statistical research), creative writing should be at G~ ie c21st March, not at the exact opposite point on the year – as if the statistical occupations &c year itself was turned round to be Outer instead of Inner…. (See [].)]

**<920224>

***[ref?]

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{Literary Circles [continued (3)]}[28th November 1988]

[Redbook6:42)][19881128:2046c]{Literary Circles [continued (3)]}[28th November 1988]

19881128.2046

[continued]

What stood out of this diagram* before I cluttered it up with the criticism and other essays, were several significant points:

• The formal conversion comes at the almost exact mid-point of his life, corresponding in C[ircles] A[nalysis] to the mid-life Crisis of Death and Rebirth.

• The poems which seem to be favoured by critics** come at the Outer Circle G~ or ‘literary’ degree.

• The Waste Land, on Grail themes, comes near the end of this same area, which is the primary Grail area.***

• The Waste Land is also the last (and greatest) outbreak of the self-conscious literary erudition of the early poems.****

• From the Waste Land to Ash Wednesday, all the poems for which I have dates – that is, The Waste Land, The Hollow Men,# The Journey of the Magi, A Song for Simeon, Animula, Marina, and Ash Wednesday – are mystical poems of personal exploration and experience of the Transformation Point at R~ (Outer and Inner), which is exactly where they are located; and they are filled with appropriate images of death, water, symbolic females, resurrection or rebirth, (or children), turning, God, etc..

• Eliot’s views on the ‘dissociation of sensibility’ after the Metaphysical poets seem (I have not checked this) to have been expressed over the same period, or the early part of it, ie near to the Unity at C.

• #*The Four Quartets are mystical poems of guidance to others following the mystical poems of exploration, and cover the J~ quarter[-]circle (Counsel is the gift here).

• The plays are all (except the last) lower semicircle. (See earlier placing of arts, ie drama, near J~/-A~?)#** The best known are nearest to G~ (where Literature is supposed to be).

• The bulk of expository work (as I take them [sic] to be) of essays etc is also on the left semi-circle and shortly afterwards. This is slightly surprising if they were analytical. But

(a) their primary purpose may have been to give guidance rather than [to] advance scholarship; and

(b) by the time of the right inner semicircle, Eliot was getting old.

• The Christian essays etc. are (naturally) on the Inner Left semicircle.

*[See last previous entry]

**(which also included the antisemitism quoted in [the] T[imes] L[iterary] S[upplement] <881129>

[See [Redbook6:36A(/40A)][19881122:0000]{T.S Eliot and Anti-Semitism}[22nd November 1988]]

***[See eg [Redbook3:223][19870502:1855]{The Grail Quest*}[2nd May 1987];

&/but? [Redbook5:49-50][19880312:2005c]{The Grail Quest Circle}[12th March 1988]&f; ]

****After The Waste Land the style becomes much simpler and draws from older as well as ‘modernist’ patterns.

#NB The subtitle of The Hollow Men: ‘Mistah Kurtz – he dead’. ( – Conrad?)

[Yes – Joseph Conrad, ‘Heart of Darkness’ (1899) (which was the inspiration for Francis Ford Coppola’s Vietnam-set film ‘Apocalypse Now’ , (1979), among many other works.]

#*Here also Eliot explores the change in his use of poetic language.

#**[Not quite, but close – see [Redbook5:27-28][19880302:1842b]{The Letter and the Spirit [continued (4)]ff}[2nd March 1988]], esp [Redbook5:28-29][19880302:1842d]{The Letter and the Spirit [continued (6)]}[2nd March 1988]]

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{Literary Circles [continued]}[28th November 1988]

[Redbook6:42)][19881128:2046b]{Literary Circles [continued]}[28th November 1988]

19881128.2046

[continued]

[The text on the ms diagram reproduced above is too complicated to be summarised in a table at present.]

*Ash Wednesday is 6.5 weeks before Easter, ie between 4/2 & 11/3.

[See next entry]

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{Literary Circles}[28th November 1988]

[Redbook6:41-51)][19881128:2046]{Literary Circles}[28th November 1988]

19881128.2046

Emboldened by my success with [...], I rather rashly decided to try my luck with the much more formidable T[imes] L[iterary] S[upplement]* – rashly because TS Eliot [...] is a subject about which or whom I know virtually nothing: the unlikely event of publication could cause me embarrassment.**

So today I read the Collected Poems [of T.S. Eliot] 1909 – 1962 (Faber, 1974) from start to finsh; I don’t suppose I had read more than a few handfuls of lines since I [had] first read any of Eliot’s poetry: I tended to read against the self-conscious (as I see it) and referential scholarship of the better known poems. But that is the key to it: that for some reason, having to do I imagine with the developmental state of the critics themselves, almost all critical approbation (and indeed commentary) which I have come across is directed at the early poems, ie up to and sometimes including The Waste Land. From the Waste Land onwards one may hear poems read on the radio, for example, especially in religious contexts, but rarely or never do I see them analysed.

Unsurprisingly! – I have been unable to make enough sense of any of these later poems until, today, I approached them in the light of Circles Analysis: by which they make almost complete sense. (Only the theme in the case of the Waste Land, whose details for obvious reasons remain unclear to me: but even that fact makes sense to [sic] C[ircles] A[nalysis].

I only wish that I had immediate access to Eliot’s criticism and philosophy, and critical commentary by others on his work.

*[[Redbook6:36A(/40A)][19881122:0000]{T.S Eliot and Anti-Semitism}[22nd November 1988]]

**and disappointment <881209>

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{Right Homosexuality}[26th November 1988]

[Redbook6:38-39)][19881126:1330]{Right Homosexuality}[26th November 1988]

19881126.1330

The curious and disconcerting association of homosexuality with the right side of the Circle – particularly with Michael – not that I would ever dream that the Archetype could be capable of indulging in a homosexual act: I am thinking more of the tendency of the genders to stick to their own gender socially – first crystallised in a remark made to me by my sister [S], many years ago, (possibly having read the first attempt at ‘[0]’, ‘[TG]’, which was written in the third person through the eyes of +M, and introduced, in that order I think, first +C, and then +Mk and +K together(?)) – that Michael was a name associated with homosexuals: if I recall correctly, we had been watching a television ‘review’* with a song about ‘Michael, Michael, Superman’,** who [won] prizes for body-building and then went home and dressed in women’s clothes…. This startling insight stayed with me, forcing me to recognise that the original Michael in ‘[TG]’, who is not all that similar to the +M of ‘[0]’ and the Circles, was based on, or had been written for, the film character played by a young boy film star of the time….

This parenthetical rambling has a point to it: that quite apart from the apparent tendency of the genders to mix on the left side, and remain separate on the right side, of the Circle: the metaphysical ‘birth’ of R~ and J~ by G~ in combination with +C†I~ and A~, respectively, is the result of ‘heterosexual’ combination, whereas the metaphysical ‘birth’ of of S~ and*** U~ by M~ in combination with respectively the same two vertical Archetypes can only be characterised as symbolically homosexual. Once again, I stress the absence (and inconceivability...)**** of any act of physical intercourse.

*[revue?]

**[See lyrics below#]

***[In the ms text S~ and U~ are reversed here, which is clearly a mistake given the ms insertion of ‘respectively’]

****with apologies to Dr Johnson

[Samuel Johnson (18 September 1709 [OS 7 September] – 13 December 1784), often referred to as Dr. Johnson, was an English writer who made lasting contributions to English literature as a poet, playwright, essayist, moralist, literary critic, biographer, editor and lexicographer. (Wikipedia)]

[This is I believe based on what appears to be a mis-attribution of a quotation, of which the only reference I can find at present is as follows: ‘Sir John Mahaffy, Oscar Wilde’s tutor at Trinity College [Dublin], confronted once by a suffragette who demanded to know what essential difference there was between a man and a woman, retorted, “Madam, I cannot conceive”.’ (Donald Christopher Nugent, ‘There Was a Feminine Mysticism’ Mystics Quarterly, Vol 14, No. 3 (September 1988), p135, Penn State University Press)]

#[

Michael, Michael, Superman

Muscle bound and super tan

Leather jacket, denim pants

Never did learn

How to dance, how to dance

Digs karate, raps on Zen

Michael makes it best with men

Digs karate, raps on Zen

Michael makes it best with men

Michael, Michael, Michael, Superman

Muscle bound and super tan

When he walks and talks and moves

Michael proves and proves

And proves Michael

Is a hyper Superman

Pushes acid, peddles hash

That's how Michael gets his stash

Rides his cycle likes a king

Knows his number

Does his thing, does his thing

And if he wants to

He can con any bird

He's turning on, if he wants to

He can con any bird

He's turning on

Michael, Michael, Michael, Superman

Muscle bound and super tan

When he walks and talks and moves

Michael proves and proves

And proves Michael

Is a hyper superman

But late at night

He sometimes seems to hear

His mother's voice

In dreams, calling to him

Clear and plain

But she calls him

Mary Jane, Mary Jane

And Michael answers plain and clear

I am coming, Mother dear

Michael answers plain and clear

I am coming, Mother dear

Michael, Michael, Michael, Superman

Muscle bound and super tan

When he walks and talks and moves

Michael proves and proves

And proves Michael

Is a hyper superman

A superman

La la la la la la la la la la la

Written by: DORY LANGDON PREVIN

Dory Previn, born Dorothy Veronica Langan (October 22, 1925 – February 14, 2012), was an American lyricist, singer-songwriter and poet.

]

{Outer Outer and Outer Inner….}[25th November 1988]

[Redbook6:37)][19881125:2358]{Outer Outer and Outer Inner….}[25th November 1988]

19881125.2358

The solution to the problem of the first Quarter-Cycle – that the Knaves Circle should be Outer Outer, but the preferred Tarot sequence is Inner in direction (T.II – [T.]V)* – has occurred to me while scribbling the Booklet: that both are valid.

The Knaves Outer Outer rotation is the natural rotation, eg in the natural animal-child of Humans (as I know only too well); but the Tarot sequence with its Inner direction of rotation placed outside the later Greater Tarots on the Circle, represents the modifying influences, for example of upbringing and education of the child (I have noted much earlier** that the T.II-[T.]V sequence follows the normal sequence of education in the gender and type of teachers).

The influence of the child’s own type*** is, of course, a factor, perhaps represented by the Greater Tarots appropriate to the Degree of that Type; the possibility of Grace is perhaps T.0, the Fool, who is at the beginning and also (as the King’s Circle) at the end. T.I, the Magician, is presumably the counter-principle to the Grace of the Fool, the Outer to the Fool’s Inner (although it is never quite as simple as that….).

*[eg [Redbook4:243-244][19871219:1055j]{The Mantelpiece (1) [continued (3)]}[19th December 1987];

[Redbook4:246-249][19871221:0000b]{The Mantelpiece (2)}[21st December 1987]ff;

[Redbook4:291][19880105:1222b]{Student Teacher [continued]}[5th January 1988];

[Redbook5:191][19880620:1040h]{The Formative Circle}[20^th June 1988]

**[Presumably, [Redbook4:248-249][19871221:0000d]{The Mantelpiece (2) [continued (3)]}[21st December 1987]]

***[Presumably what is meant is the influence of the child’s type within the child, not from others of the same type.]

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{T.S Eliot and Anti-Semitism}

[Redbook6:36A(/40A)][19881122:0000]{T.S Eliot and Anti-Semitism}[22nd November 1988]

22 November 1988

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{Coming Together}[24th November 1988]

[Redbook6:36][19881124:1330]{Coming Together}[24th November 1988]

19881124:1330

‘Deeper than speech our love, stronger than life our tether,

‘But we do not fall on the neck nor kiss when we come together.’

– Rudyard Kipling, ‘A Song of the English’ (1893): ‘England’s Answer’.

Don’t we? – [W] and I do.

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