I. Soul-image as function of World-image p. 299

Faustian psychology uses scientific methods appropriate for the World as Nature, Faustian tools such as functions, representing its findings as formula, diagram & graph.  However the object of its studies, Soul, (man-knowledge), cannot be penetrated by such methods.  Only the image, symbols, evoke Soul, words cannot describe.  Time is the counterpart to Space and Soul is the counterpart to Nature.  The current image of the Soul will always reflect the current language & symbols used to describe Space/Nature.  Consequently psychology employs images & symbols found in physics.  The Culture Soul creates a Culture language, which conforms to the Soul.  In turn language will create Nature, a cosmos of word meanings, to incorporate abstract notions, conclusions, representing causality, motion & number, which in turn lead to a deterministic & mechanical reality. What psychology discovers is its own reflection, an image of its Culture.  Faustian languages (English, German, Romance languages) differ from Latin as they reflect the concept of individual volition.  And thus psychology discovers symbols for Will.

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II. Psychology of a counter-physics p. 302

Scientific psychology (or any attempt to understand the soul) is an expression of the Macrocosm, the collection of all Cultural symbols.  As such it is mechanistic (become) rather than organic (becoming).  It lacks feeling & Destiny, the direction of existence.  Between “Psychology” & actual life there is a deep chasm; uses dead mechanisms to provide a topography of “soul science” (2 incompatible terms).

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The inner, imaginary soul-body is a mirror image of the perceived outer natural world.  Like nature it possesses directional depth, horizon, a boundary or lack thereof, an inner eye & ear & a distinct inner order (giving cause/effect).  And our “Psychology” gives relates ONLY to the Faustian, not  man in general.  The soul image it creates, the layers of forces or material, its unity or plurality, its polarity, ALL reflect ONLY 1 Culture..  Studies of alien Culture psychology give an image which fits our own soul image & thus the false impression of universality.  In reality, every Culture possesses its own unique systematic psychology.

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Apollonian, Magian and Faustian soul-image  p. 305

The Apollonian soul was perceived as a Cosmos, ordered in a group of excellent parts (fitting the Apollonian view of nature), an ordered sum of tangibles.  What he did not see was “Will”; he did not describe it as he did not possess it.  As space & force are missing in Classical mathematics & physics, so too Will is absent in Classical psychology.  In contrast Faustian psychology looks to a functional, not a bodily, ordering.  Our maths is function based as is our psychology, hence we can see Will.  The Medieval debate on primacy of Will versus Reason is about the relationship between forces of reason & will.  Scientific psychology examines the physic properties & state of the soul & confronts the problem of “motion”.  Likewise this problem confronted the Apollonian & from this arises the dichotomies of Zeno.  Faustian man has his own dichotomy as exemplified in the Faustian physics inability to reconcile force & movement (as it involves Time, which is outside thought).  Directional energy, found in the Faustian & Egyptian cultures is absent in Apollonian & Indian Cultures.  Each Culture has its own Soul image.  The Apollonian imagines his soul plastically, the Soul Body with magnitudes, possessing parts, with a static relation between body & soul.  The Faustian soul embraces a musical format, a sonata (first theme- will, second theme – thought & feeling), it has a Soul Space, with its own function; soul & body are in a dynamic relation.  It is the business of psychology to find & understand this relation.  The Magian soul image emerges in the early Roman Empire dominated by the Aramaic East.  Its hallmark is a dualism, between 2 substances: Soul & Spirit.  It is rooted in the springtime of its Culture (0-300 AD), in the Gospel of St John, the Manicheans, the Gnostics & Neo-Platonist, the dogmatic texts of the Avesta & Talmud.  There is a dramatic difference between the substance of the body & the substance which falls from Heaven onto Humanity (abstract, divine), drawing all so touched into a group or church.  Paul makes a critical distinction between the material body & the immaterial soul.  Men are divided into the initiated & uninitiated;  we see a division between mind and soul.  It informs the division between Christian & Heathen,  Sprit & Nature.  It is even found in the tripartite model of history (Ancient, Medieval & Modern) with the Creation, intervention by God and Final Judgement, a model common to Islam, Christians & Jews, which still dominates historians today!  In the 9-13th centuries the Magian Soul receives its scientific definition in the schools of Baghdad & Basra.  It touches the Faustian Soul, in the Scholastics, Mystics, even Gothic art.  Its most famous Faustian representative is Spinoza, a Jew full of Magian Soul.  Its final impact is seen in German Romantic art idealising the Orient.

 

III. The "Will" in Gothic space p. 308

The Gothic age (Spring time of Faustian Culture) never reconciled Magian roots with Faustian essence; a residue of the Magian dualism remained unresolved.  In the Baroque age (Summer), the Enlightenment saw reason triumphant, but in the 19th century, Will, under the spell of Nietzsche & Schopenhauer came to dominate.  This reflects the struggle to create an inner self portrait reflecting the outer world image.  The Faustian Soul is Will and Thought; Will links to Direction, History & Destiny whereas Thought links to Extension, Nature & Causality.  Both are evidence in the prime symbol: Infinite Extension.   Faustian Culture is a WILL culture, as revealed in its pronoun “I”.  In contrast the Russian Soul condemns such egotistic views, preferring the communal, “we”.  Apollonian man had no notion of Will, lived solely in the present, lacking directional energy.  His soul energy directed as thought, animal & vegetative impulse.

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It is neither the word nor the notion of Will that is significant but the circumstance that we possess it.  WILL and space as depth are equivalent.  The difference between Faustian Will & other Cultures is difficult to define, but that there is a difference is attested to by the difference in their respective Mathematics & art.  Space & Will inform the acts of the great Faustian men, of Copernicus, Columbus, the Hohenstaufen, Napoleon, Kant as well (Space as an a priori), affirming the ego, to rule the world.  In Faustian oil-painting, the art of perspective makes the space-field of the picture infinite, dependent on the observer, who asserts his dominion by choosing his distance.  Faustian metaphysics posits a functional dependency of things upon spirit.  And in physics we have space-energy (used in the idea of intensity & capacity), in which the spatial interlude is a critical form.  Will is not part of Magian Culture, though it is talked of (several Wills in fact).

 

The "inner" mythology p. 312

All men & Cultures possess an inner mythology which reflects the outer macrocosm.  For Apollonians Zeus rules the outer macrocosm, voύs rules the inner microcosm.  For Magians, the inner pneuma & psyche link to the outer Devil & God, exact opposites (good versus evil).  For the Faustian, as Will emerges to dominate, the Magian legacy, expressed in our incarnate Devil, recedes & disappears.  Faustian Science emerges as religion is abandoned, & it has its double myth in Psychology & Physics- Will & passion, force & mass respectively.  In the post-Renaissance, God as a sensual & persoanl entity is replaced by abstract infinite space, transcendent world will.  At this time (1700) instrumental music replace oil painting as the complete, closest expression of our deity.  Our deity unlike Zeus (who is himself constrained by fate, first among equals) is infinite power & will.  Will emerges from the Baroque age, complimented by perspective in painting, instrumental music & modern mechanical physics likewise.  And of course, these scientific “Universal Laws” are but the Baroque apprehension of the Faustian soul, transitory & true ONLY to the Baroque Faustian.  Baroque architecture is associated with the Jesuits, an order during this age.  There is an inner connection between the Jesuits (with it sunlimted range, to Asia, N & S America) and the art of the Fugue and Calculus.  Indeed the Jesuits, Baroque Mathematics & physics & psychology, all share the Faustian soul, of dynamics & energy (as against the static, somatic Apollonian soul, lost in contemplation).

 

IV. Will and Character  p.314

The Faustian judges other Faustians by their effectiveness in space & NOT by their static presence in space.  We judge by what men do outwardly & inwardly, not superficial features.  This is character.  It is also a clear reflection of WILL providing direction in life.  Life is Will, either as effective or ineffective.  Faustian man is progressive, fighting, active whole; Apollonian man was a static mass, passive.  The Egyptians & Chinese likewise, were active, driving forces; the Greeks & Indians passive.  Although the Greek polis fought in a Darwinian struggle for survival, Greek & Roman thinkers sought to escape struggle, for the Stoics the ideal was acceptance not resistance.  Faustian man is concerned with the dynamic (be it musical, pictorial, physical, social or political), concerned with the direction NOT the individual case or sum thereof.  It is not the individual case but the typical case, the working out of the functional relation.  Classical biography is simply a series of anecdotes strung together, showing no development; Faustian biography is ALL about development.  In science the Greeks saw no general laws reflecting the sum of his data- for him they did not exist.  When we look at Apollonian art what we see in place of character is gesture, a founding for the spiritual static.  It is a role or mask; the essence of the man is his role.  There is no inward life.  Destiny assigns men his role & the Apollonian accepts this self-contained posture (in contrast to the unfolding & active personality of the Faustian).  Posture & gesture, the pure present, reflect the Apollonian Soul, devoid of inner reality; in contrast to the portrait of Faustian baroque, a reflection of character.

 

V. Classical posture tragedy and Faustian character tragedy   p. 317

Apollonian tragedy is vastly different from Faustian; Apollonian theatre is the drama of noble gesture.  There is no action on stage, it references a general situation & not the personalities, we see no character growth.  The masked actor is confronted by a painful situation & must maintain his role in the face of this.  There is no exploration of the on-going or previous psychological state of the actor, external forces impinge upon him, he is ambushed by fate & must maintain his part.  Faustian characters exist in a social environment, develop & struggle from inner necessity.  The tragedy evolves from a long continuous struggle, inner progress is key.  The role of external fate is minimized.  Faustian drama is biographical, the whole life of the character is important & adds to the drama.  It has a strong psychological dimension.  Apollonian drama presents a single moment in which an external force strikes the actor, it is a summation of outward data, no more.  Even the characters differ- Faustians are part of a vast panoply of differing sorts & behaviours; the Apollonians are stock, played again & again, static seldom changing over time.

 

Symbolism of the drama-image  p. 320

Greek drama is passive, a legacy of their past religious ritual.  It has roots in a death lament which is transformed into a theme illustrating human suffering.  Aeschylus took religion (the Elusion Mysteries) & put it on stage & mimicked it.  Even the satyr plays have links to religious celebration (Demeter & Dionysus).  A solemn liturgy is played out, evoking feelings of terror & then pity as a role player is confronted by a destiny he must endure.  It is static posture, gesture, the lament of woe, without action or direction.  In contrast Faustian tragedy is all about action; in Greek drama such action occurs BEFORE the play.  Our drama is energy, direction, stories of discovery, conquest, and never passive submission.  Apollonian tragedy is presented in scenes like a relief, a backdrop for gesture & recitation.  The 3 unities (time, place, action) reflect the unhistoric Euclidean present (a denial of past & future).  Romance drama (Italy/Spain/France) recognizes but cannot fully embrace, the 3 unities; their themes of honour, courtesy, dignity give lip service to the Apollonian tradition, yet they do not understand these.  The pity is this form was polluted with the classical ideals it mimics.  In doing so lost its Faustian purity, a purity & essence we see write large in the music of the German genius of the 17th-19th centuries.

 

VI. p. 323

Apollonian drama employed significant features appropriate for itself but utterly alien to Faustian.  The stage mask insured individuality was avoided (similar to the avoidance of portrait sculpture).  The costumes, padding & shoes used on-stage also had the effect of disguising the individual actor, avoiding any nuance of individuality in favour of “the role”.  The chorus is perhaps the most antithetical of all (for the Faustian), yet is such a fundamental & rooted feature of Greek tragedy.  It means the individual only emerges with a group; the crowd & NOT the individual is what is important.  The soliloquy cannot exist in face of the all present crowd.  Everything is public.  The monologue of our great drama is impossible as the individual in the Greek drama is always subordinate to the ever present chorus.

 

Day and Night Art, p. 324

Although early Faustian drama (the Passion plays) were based in the morning, later Faustian performance moves to late afternoon & then evening (18th century).  In contrast Apollonian art is always set at high noon; sunlight denies space.  The shadows of the evening affirm this; at night the universe of space triumphs over matter.  In Apollonian vase painting & fresco there is no shadow, indeed no time of day but timeless high noon.  Faustian oil paintings are bathed in shadow & darkness independent of time of day. When time of day is treated, it is early morn or twilight, shadow abounds.  Twilight is the Faustian character as against Apollonian brightness.  Our drama is one of perspective & breadth of background, a stage that is the world.  In Shakespeare we see dramatic infinity & passion destroying all limits.  With Lear (outcast of the night) & Venetian music (with its inwardly felt landscapes) & the Elizabethan theatre (bereft of props) imagination fills the space.  On the Greek stage we have but a platform for statues.  The Greeks had no eye for nature; his nature was the plastic body, not the clouds star or horizon.

 

VII. Popular and esoteric  p. 326

Popular culture reduces the difference between men; esoteric culture increase such differences.  Apollonian culture (myths, science, art) is sensual & immediately comprehensible.  Faustian culture is esoteric: a wall exists between Faustian man & his culture.  We take in the Doric column, Euclid’s geometry or Athenian democracy with 1 glance; there are no subtleties.  In contrast the art of Bach, Rembrandt or Dante, the writing of Leibnitz or Kant, all require specialists – it is not for the average man.  Faustian geniuses like Michelangelo or Gauss, reach beyond the average man’s ken.  Compare the simplicity of Homer with German philosophy!  Apollonian culture is non-exclusive, caters to all.  Western science is so specialized, few other than a handful can grasp it.  The gradually emerging popular science and culture along with the criticism of the esoteric nature of the Baroque- points to the weakening of the Faustian Soul.  Only a few (theoretical physics, Catholic dogma, jurisprudence, mathematics) continue to embrace the expert; it is precisely this “expert” that is missing in Apollonian culture, where everyone knew everything!  In the final phase of Faustian man, as megalopolitan shallowness advances, sciences move into narrow & exclusive confines so abstruse they are comprehensible to but a few superfine, intelligent.  This disparity, or polarization between the average man, and the expert, is in itself a symbol, as it diminishes so diminishes the Faustian Soul.

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VIII. The astronomical image   p. 329

Apollonian symbols are self-enclosed & contained, without relation to any other or space; unconscious of the spectator, lacking architectonic feel or presence.  Seen from outside it is an inert neighbour without ability to travel into space beyond.  The Magian impact on the dead Apollonian sprit reversed such feelings- whereas the eyes of Apollonian sculptures are blind, sightless, Magian sculptures directly view the spectator or look into space.  In the Apollonian fresco figures view each other; in Magian mosaics they look to the spectator instead.  The beholder’s sphere is now encompassed by the view of the artwork.  Faustian painters (e.g. Leonardo) have a different feel for space: they draw the spectator into the frame of the picture (3D space).  The frame opens a world of infinite space, as well as allowing the art to project INTO the viewer’s space.  Apollonian thinkers pointedly avoid space, dedicated to a universe they could see & feel with comfortable limits, grounded on earth.  In stark contrast is Copernicus & Kepler, the telescope; concepts which were imbued with spiritual revelation.  Our space concept is based less on observation then a picture we construct based on the Faustian soul.  From the photographic (time lapse) images, to the theories of movement, speeds, magnitude- concepts deeply symbolic, all reflect more the Faustian Sul, not observation.  The Copernican world cuts away the earth.  The Faistians after him, modern astronomers, perceive an immensely wide universe, never ending galaxies & stars, an infinity of space.  The light we see, is a thousands of years old.  Our vast Milky Way, with its swarms of speeding stellar systems moving through infinite space, these Faustian concepts, our symbols, reflect the Faustian spirit, to move forward & beyond, into the infinite.  Even though our telescopes are at the observable limits to the universe, we MUST ask “what lies beyond”?

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IX. The geographical horizon   p. 332

Sailing liberated the Faustian spirit & although the Egyptians also knew sailing, they failed to extend it beyond their ken, into the high seas.  Faustian spirit moves to the long range (weapons, communications).  Apollonian sprit is devoid of such movement, being static, falling even to circumnavigate Africa.  In contrast to the oceanic exploration/colonization of the Faustian, the Greeks never venture beyond sight of land; despite a homeland geography of islands & seas and advances in naval architecture; they never venture beyond the Mediterranean tied to the tiny, secure polis (even for the late Republic, “my country “was the city Rome, not Italy).  The Apollonian allegiance to his city necessitated a distance to separate them, when distance was violated this generated hate & animosity.  Roman “armies” had been separate corps, an exclusive membership each recruited & commanded by a specific person, each with specific deities; now they become more universal, an armed forces rather than the specific legion.  The Apollonian idea of home, a corporal & specific geographic location, (unity of place:-in drama, in the polis, in statues) dissolves as the Magian Spirit submerges the dead Apollonian symbols & forms.  Faustian home is radically different: no geographic link but the linkage of the incorporeal (language, culture, climate, history), in short the “country”, an idea, a feeling, first reflected in the ancient Faustian wanderings & the loneliness expressed by the German attachment to the south.  Geography is overwhelmed by extension (political, economic, spiritual) turning the globe into a gigantic colonial & economic system.  And Faustian history is replete with men who dream of world conquest & global dominion from the Spanish Conquistadores & British Empire to the Medieval popes,.  In contrast the Apollonian fears to conquer or penetrate; neither Alexander’s conquests (ended by his soldier’s mutiny) nor the Roman Empire (stealing lands owned by others) match the Faustian launch into the unknown, uncharted, reflecting the desire for freedom & independence, contempt for all limits.  The Faustian soul finds expression – from the Copernican world picture to stellar space, from the voyage of Columbus to our Western global empires, the evolution of perspective & the tragedy, with our passion for swift transport, with flight & the conquests of mountains & far poles- so emerges our prime symbol: Limitless Space.  And fromthe Soul come forms unique to the Faustian- Will, Force and Deed.