{The Renaissance}[24th April 1991]

[Redbook9:187][19910424:0902d]{The Renaissance}[24th April 1991]

19910424:0902

[continued]

*

**

*[Marginal notes & diagrams in order:]

{cf [[Redbook9:184-185][19910423:0920f]{Northern and Southern ‘Renaissance’}[23rd April 1991]ff,] 184-5}

[Marginal diagram to the left of the reference to landscape in the text:]

[Right marginal note ‘See 187’: unclear to what this refers, as this text is on p187]

[As marginal diagram/s above:]

[or]

[&]

{St Augustine of Hippo 354-430CE cf 2048S~256CE:

In the [...]land of [0], the utopian*** city planned by [RM] but never built was on the inner [...]land at s~ (in the hills North-west of CM), & was known as ‘C.D’,**** abbreviated (in my mind) from Civis Dei, specifically a (rather ignorant) reference to St. Augustine’}

[In the current version of [0] it is referred to, but not by name, as built but (by implication) not populated]

J~{j~}

(was u~)

<920706>

{s}

** – E[ncyclopaedia] B[ritannica] 25:343

[source text continues in next ts journal entry]

***{cf [[Redbook9:198-200][19910428:0955#]{Utopian Landsacpes}[28th April 1991],] 199}

****[And a conscious, but coincidental, reversal of ‘D.C’, as in District of Columbia]

[continued]

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{Inner Doubling [continued]}[24th April 1991]

[Redbook9:186][19910424:0902c]{Inner Doubling [continued]}[24th April 1991]

19910424:0902

[continued]

There at least two possible explanations of this,* one or both of which may be involved.

(1) That the sequence C → M~ → G~ → A~ actually represents the correct or most effective way of approach to the discovery of the C[ircles] A[nalysis] & S[ynthesis] pattern itself;

(2) That the first experience, as a child, of the inner presence of C initially identifies** the self, in this newly multiplying sequence, as A~; M~ and G~ follow next, but (at the same time as G~ (in the earlier ‘The Gift’) A~ itself becomes separately identifiable[,] as the Self (at least by the time of the [0] version) tends strongly toward C.

Interesting stuff.

*[See last previous ts journal entry]

**(identifies!)

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{Inner Doubling}[24th April 1991]

[Redbook9:185-186][19910424:0902b]{Inner Doubling}[24th April 1991]

19910424:0902

[continued]

I notice that my discovery of Archetypes on the C[ircles] A[nalysis] & S[ynthesis] pattern fell naturally into the period-doubling sequence, eg from 4-8, and indeed (in the first draft of [0], called ‘The Gift’) from 2-4.* If I take this back to juvenile ** experiences of the inner presence of Christ*** – so strong that at times my undeveloped awareness found difficulty in distinguishing the Archetype from the Self, which in the relatively pure and innocent Child may not be insignificant (ie, 

(1) C is the perfected self and 

(2) Awareness of a C which both is and is not self may indicate the separation of the qualities of the maturing self away from C) 

– that can be taken as the first doubling. 

There is an interesting shift, though, in that in The Gift +M appears first (if my memory is correct), as the ‘hero’, +C later, +K and +Mk later still as twins; whereas in [0] +C is first, +M soon after, then +K,**** his twin, finally +Mk – a more conventional approach, but still not strictly ‘period doubling’:

*[ie presumably 2 archetypes, then 4, then 8]

**{‘Juvenile’ – continuing much later than one would expect, as a distinction difficulty: up to and even, I think, overlapping with the beginning of creative writing (age c[irca]17) although I found it embarrassing to admit to myself at the time}

***recalled in III []

****[‘inwardly’, yes; but outwardly, +Mk before +K. This might have changed since this ts journal entry was written, although that is unlikely]

[continued]

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{The Nature of C[ircles] A[nalysis] & S[ynthesis] Patterns}[24th April 1991]

[Redbook9:185][19910424:0902]{The Nature of C[ircles] A[nalysis] & S[ynthesis] Patterns}[24th April 1991]

19910424:0902

One question looms larger as I continue: to what extent do C[ircles] A[nalysis] & S[ynthesis] Patterns in history simply describe the way events affect each other at particular times, and to what extent do they represent real impulses of (perhaps psychic) energy with a form of dynamic independence,* perhaps rooted in some kind of Platonic Archetypes? In the end this may be a metaphysical question; it may depend on how you look at it, and be in practice unanswerable.**

*ref III (/IV?) []

**[There is also the possibility, raised elsewhere,*** that they simply reflect the way that human beings, or some of them, perceive matters; and this also might not in practice be distinguishable from either or both of the possibilities outlined above.]

***[See eg []]

[continued]

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{Northern and Southern ‘Renaissance’ [continued (3)]}[23rd April 1991]

[Redbook9:184-185][19910423:0920h]{Northern and Southern ‘Renaissance’ [continued (3)]}[23rd April 1991]

19910423.0920

[continued]

{The question* is to what extent a flourishing or impulse in visual Art occurred more-or-less simultaneously in northern and southern Europe but was disguised, eg by the different heritages available as a focus for inspiration, or by the manner of expression. Giotto in Italy is contemporaneous with the end of the Romanesque-Gothic transition (c[irca]1150-c[irca]1250[ce]), leading to the full flowering of the Gothic c[irca]1250[ce] (cf 2048J~1280[ce]), which seems to have been much less pronounced in Italy. So[,] is the Southern Renaissance the expression of the same C[ircles] A[nalysis] & S[ynthesis] impulses as the Northern Gothic?}**

*[See last two previous ts journal entries]

**[See last previous ts journal entry but one, [Redbook9:184-185][19910423:0920f]{Northern and Southern ‘Renaissance’}[23rd April 1991]]

***{See [[Redbook9:187][19910424:0902#]{The Renaissance}[24th April 1991],] 187,

[[Redbook9:260-265][19910505:1200#]{‘The Northern Renaissance’}[5th May 1991],] 260}

[continued]

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{Northern and Southern ‘Renaissance’ [continued]}[23rd April 1991]

[Redbook9:184-185][19910423:0920g]{Northern and Southern ‘Renaissance’ [continued]}[23rd April 1991]

19910423.0920

[continued]

‘… The Southerners were fascinated by the Northerners’ ability to capture light* and to depict nature and human physiognomy in detail. Nevertheless the differences in intention between a painting by Jan van Eyck** and one of similar date by Masaccio (1401-28[ce]) is immense: given a comparable skill in perspective, lighting, the articulation of the human body, and the suggestion of thoughts and emotions, the former draws on the heritage of the Gothic,*** the latter on Classical Antiquity.’****

#

*[See earlier (Vol/s?) [] re the Gothic ‘discovery’ of light, &c]

**(c[irca] 1390-1441[ce])

***{ → [[Redbook9:213-219][19910430:1230#]{Renaissance Sculpture and Classical Influence [continued #]}[30th April 1991],] 214,

[[Redbook9:220-236][19910501:0008#]{Renaissance Architecture [continued #]}[1st May 1991],] 223}

****{ → [[Redbook9:237][19910501:0008#]{The Renaissance (again): Gothic and Renaissance Art}[1st May 1991],] 237}

# – ibid [Encyclopaedia of Visual Art 4:] 624

[See long later footnote in next ts journal entry]

[continued]

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{Northern and Southern ‘Renaissance’}[23rd April 1991]

[Redbook9:184-185][19910423:0920f]{Northern and Southern ‘Renaissance’}[23rd April 1991]

19910423.0920

[continued]

*‘In Italy, where antique traditions were strongest, the revival began about the time of Giotto (1266-1337[ce])** and ended about the time of the death of Raphael (1520[ce]).*** In Northern Europe, on the other hand, the art of Albrecht Dürer (1471-1528[ce])**** provides the first prolonged attempt to assimilate classical models into a Northern style. While a Renaissance style flourished in Italy during the 15^th century,# the North accepted the influence of the Antique only in the 16^th century [ce].’#*

#**

*[[Redbook9:180][19910422:0825]{Renaissance}[22nd April 1991],] 180 →

**2048J~1280[ce]

***2048G~1536[ce]

****2048JG~1408[ce]|G~1536[ce]

#2048JG~1408[ce]

#*2048G~1536[ce]

#** – E[ncyclopaedia of] V[isual] A[rt] 4:622

(cf previous extract, on p180*)

[continued]

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{Art Cycles (3)}[23rd April 1991]

[Redbook9:183][19910423:0920e]{Art Cycles (3)}[23rd April 1991]

19910423.0920

[continued]

Another* stab at the Art Cycle – bearing in mind that the ‘circles’ are generally ‘spirals’ (not to mention ‘ovals’) in that they generally build upon their predecessors:

– But this is still highly uncertain.

*ref [[Redbook9:124-125][19910415:0840aa]{Visual Arts [continued –] Art Cycles (1)}[15th April 1991],] 124-5,

[[Redbook9:133-134][19910420:0953h]{Art Cycles (2)}[20th April 1991],] 133

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{The Nature of Islam [continued (3)]}[23rd April 1991]

[Redbook9:183][19910423:0920d]{The Nature of Islam [continued (3)]}[23rd April 1991]

19910423.0920

[continued]

*But whose cycle?

[See [Redbook9:190][19910426:1153b]{Modern Arab Art}[26th April 1991]]

*[See last previous ts journal entry, &ant]

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{The Nature of Islam [continued]}[23rd April 1991]

[Redbook9:183][19910423:0920c]{The Nature of Islam [continued]}[23rd April 1991]

19910423.0920

[continued]

I suspect it* may have something to do with the inability of those cultures which do not ‘begin’ at C to pursue a rotation which is balanced as between outer and inner circles – perhaps because they are stuck with a circle which is already in progress,| whose choices have already been made.

This is not altogether convincing: there is an implication in the circumstances and layout of the Quran** (which at some stage I shall have to read*** – perhaps back to front?) that Muhammad started under a g~ influence but fairly rapidly became embroiled in M~ and U~ activities, whose way of thinking found their way into the book. But this is still speculative.

I imagine that it would be extremely difficult if not impossible to affect the relative inner-to-outer rotation of of a cycle if one came to it at MU~.

*[See last previous ts journal entry]

**ref [[Redbook9:56-58][19910409:1239b]{The Quran}[9th April 1991]ff,] 56-58

[&ant?]

***[I did – but not back-to-front]

[continued]

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{The Nature of Islam}[23rd April 1991]

[Redbook9:182-183][19910423:0920b]{The Nature of Islam}[23rd April 1991]

19910423.0920

[continued]

*Why does the starting-point of Islam at c[irca] [2048]MU~ seem to characterise its entire cycle – why doesn’t it just circle round like cultures which ‘started’ at C? Well, that just seems to be the way it is – compare the attachment of Rome and of the U.S.A., both of which started at [2048]G~, to democratic and republican ideas (or at least to ideas of civilised behaviour towards people in the case of Imperial Rome).**

It is not quite enough to say that Islam is characterised by MU~*** at least up to soon after 1536[ce]: after all, Rome and the USA started at [2048]G~ and yet neither was or is particularly original in artistic terms.****

*{ref [[Redbook9:116][19910415:0840j]{[Islamic Art –] The Word (2) [continued (28)]}[15th April 1991],] 116,

[[Redbook9:118-119][19910415:0840m]{[Islamic Art –] Music [continued (3)]}[15th April 1991]&f?,] 119

(& see [[Redbook9:124][19910415:0840z]{[Islamic Art –] Visual Arts}[15th April 1991]&f,] 124-5

[[Redbook9:133-134][19910420:0953h]{Art Cycles (2)}[20th April 1991],] 133[:]

order of art)}

**[sic – for their time, perhaps!]

***{cf [[Redbook9:236-237][19910501:0800mm]{The Nature of the Romans}[1st May 1991],] 236}

****{But see USA’s postwar modern art?}

[& in fact USA’s postwar everything creative & innovative]

[continued]

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{Greek influence on Judeo-Christian thought}[23rd April 1991]

[Redbook9:182][19910423:0920]{Greek influence on Judeo-Christian thought}[23rd April 1991]

19910423.0920

‘This dramatic passage draws its inspiration from v[erse] 16 of 1 Ch[ronicles] 21:15-27 and possibly also from Homer (Iliad IV.443).’

*

* – N[ew] J[erusalm] B[ible]: 1073 (from Note L to Ws** 18:15)

**[Wisdom (of Solomon)]

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{A Thousand Years of Art?}[22nd April 1991]

[Redbook9:182][19910422:1210]{A Thousand Years of Art?}[22nd April 1991]

.1210

A very speculative pattern begins to suggest itself:

*

*(Note how the period lengths decrease)<910423>

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{Concentration and Disintegration [continued] }[22nd April 1991]

[Redbook9:181][19910422:0825d]{Concentration and Disintegration [continued]}[22nd April 1991]

19910422.0825(Mon)

[continued]

During this [sic] black few days,* I could not work at the C[ircles] A[nalysis] & S[ynthesis] research. I remember this so well from school and while I was still living at home, when persecution by teachers and other boys (8-16) followed by my parents’ involvement of me in their marital problems (16-32!) pre-occupied my mind with anxiety ** and depression to such an extent that I could not concentrate on work. The clue may be in ‘could not concentrate’: the depression and anxiety had a dissolving, disintegrating effect on concentrated thought. In the later period my mind tended instead to wander into the sort of speculation found in Vol[ume]s I & II of this Journal: the fact that they may ultimately lead to something valuable in more than just the healing of myself, should not conceal the essentially fragmented nature of my thought at that time. Creativity may well involve the coalescence of such fragments. There were, of course, other interrelated factors contributing to my mental state.

*[See last previous ts entry]

**

[The asterisk is almost certainly not part of the diagram, since a similar single asterisk in the ms text, represented in the ts by a double asterisk(**), refers to it]

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{Concentration and Disintegration}[22nd April 1991]

[Redbook9:180-181][19910422:0825c]{Concentration and Disintegration}[22nd April 1991]

19910422.0825(Mon)

[continued]

*I had had a bad period,** mostly through over-sensitivity about finance, in which from Tuesday evening until Sunday morning I was filled with terrible resentment of [W] for not being tight enough with money – a feeling which I kept largely bottled up inside me, although she realised in the end. *** Just as the dream predicted, everything is now fine**** (it# may even have been due to a hamburger-and-chips fry-up we took the children to on Tuesday evening, not just in financial but in dietary terms).

*[Ref last previous ts entry]

**[as it were....]

***cf VIII: [[Redbook8:181][19910123:1501]{[Dream fragment:]The Girl in the Stream}[23rd January 1991] to? [Redbook8:182-184][19910123:1501c]{Crisis Revisited?}[23rd January 1991],] 181-182[?-184]

****There was a slight relapse on Tuesday evening, but the discussion has cleared the air <910426>

#[The negative feelings described above, presumably]

[continued]

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