Aulë and Melkor

[Hugh Bliss]

"Aulë... is a smith and a master of all crafts, and he delights in works of skill, however small, as much as in the mighty building of old...

Melkor was jealous of him, for Aulë was most like himself in thought and in powers; and there was long strife between them, in which Melkor ever marred or undid the works of Aulë, and Aulë grew weary in repairing the tumults and disorders of Melkor...

Aulë did not envy the works of others, but sought and gave counsel...

Whereas Melkor spent his spirit in envy and hate, until at last he could make nothing save in mockery of the thought of others, and all their works he destroyed if he could."

J. R. R. Tolkien

[The Dude]

^^^Coooooool!

I really dig the huuuge trees as high as mountains penetrating into the clouds. We need some huge trees like that.

yeah that painting is pretty spun out.

[ThunderIdeal]

awwww man..

i LOVE the silmarillion.

the second coolest creation-myth i've heard of, and the coolest one that i've read completely.

anybody else feel this way?

[ThunderIdeal]

assuming from your comment you haven't read it.... el dude i reckon you'd like it. it's a bit heavy, but not very long. when i say heavy, it's hard to remember which name belongs to who.

you don't need any exposure to lord of the rings either.

[The Dude]

Well I decided to read at least that post up there and must say I find it interesting. Some kind of ying/yang about creation/destruction going on there. Also I think of it in the way "the creator" created all things for us to exist in and we mimic that with our creations, however the curse of humanity is mistrust and enviousness and jealousy and these creations are malformed from the begining due to our malintent. If we continue on this path it will inevitably lead to our demise... unless we realise once again that we actually are god. or Aulë and not our subjective experience of Melkor witnessing Aulë.

Also this mirrors a discussions regarding faith and creating ideas versus doubt and the destruction of them. I'm sure you posted this before the aforementioned discussion developed into what it was yet I doubt anyone would say we had such a discussion inspired by this, so I'll take this as My proof of a synchronistic existence. That the same thoughts are circulating amongst us.

over-associating, kind of a mental effort one needs to make unless they've managed to unlock gnosis through other means. As it is now I'm looking for connections, during gnosis you can't run away from them.

Edited November 24, 2007 by El Duderino

[ThunderIdeal]

hmmmm

that was a good interpretation of those few sentences up there.... but..... you need to read the silmarillion. aule isn't the creator. both of the mentioned beings are like demigods or archangels, if you were to label them.

i can tell by the thoughts you post that you'd probably get a lot out of it. plenty of opportunity to look for connections too, between tolkiens mythology and real ones, between his concepts on your own. for me, much of what's in there can be "translated" into my own ideas, like you did except that there's way more than four sentences.

[The Dude]

hmmmm

that was a good interpretation of those few sentences up there.... but..... you need to read the silmarillion. aule isn't the creator. both of the mentioned beings are like demigods or archangels, if you were to label them.

my bad...

[edit]

come to think of it.. that's actually the idea, that these demigods or archangels as you call them are aspects OF the creator, just like our definitions of god/satan are actually the one being / the highest Self. God cannot be seen in its perfection.. or in the christian gnostic mythology sophia the godess of knowledge can never be fully revealed, apart from our subjective revelations of her, that in itself is an act of creation.. observation, so what these 'demigods' may well represent are more like archetypes within the psyche. .. the ying/yang duality still seems to apply. destruction is a form of creation; every 'decision' in observation is killing off the infinite alternate possibilities.

Edited November 24, 2007 by El Duderino

[shruman]

"assuming from your comment you haven't read it.... el dude i reckon you'd like it. it's a bit heavy, but not very long. when i say heavy, it's hard to remember which name belongs to who."

Being in verse made it hard for me but I tried reading it when I was like 12 so I should try again.

[ThunderIdeal]

when i say silmarillion, it's probably worthwhile getting the newer version which has other stuff. it forms a history for middle earth which begins with the creation of the maia, and goes pretty much up to lord of the rings, and hints at what would come next. technically i think the silmarillion ends when the last silmaril is lost or thereabouts.

shruman, it's worth a go now that you're older. i wouldn't have made any sense of it at that age, besides, it deals with lofty topics which most children haven't thought about too much. the only major difficulty is that you'll have like three elves called stuff like elwe, olwe and ingwe, and that will lead to confusion as you forget which is which and you don't fully grasp the bloodlines. however, when you get to the end you will likely understand everything.

[ThunderIdeal]

my bad...

come to think of it.. that's actually the idea, that these demigods or archangels as you call them are aspects OF the creator, just like our definitions of god/satan are actually the one being / the highest Self. God cannot be seen in its perfection.. or in the christian gnostic mythology sophia the godess of knowledge can never be fully revealed, apart from our subjective revelations of her, that in itself is an act of creation.. observation, so what these 'demigods' may well represent are more like archetypes within the psyche. .. the ying/yang duality still seems to apply. destruction is a form of creation; every 'decision' in observation is killing off the infinite alternate possibilities.

hehe

you're pretty much dead on so you should read it huh? there are still many more concepts to cover. it's many-tiered.

i'm inclined to summarise a few things. hopefully i can do them justice and convince you of the scope of the work.

the creator is named illuvatar, and makes these maia characters, of varying qualities, and they all sing a song. the song begins with everybody in balance, but the second movement is melkor's uprising or whatever, and many other maia join him. in the third movement illuvatar starts weaving new melodies, in and out of melkor's dissonant rebellious tune, using his own efforts against him by joining both of their music into something more beautiful than the first movement. if i recall correctly that is the history of middle earth. illuvatar shows the maia what they have done - my interpretation is that the part sung by each maia is the part that they play in creation.

some maia choose to take part, others remain 'outside' with illuvatar.

the thirteen greatest maia to take part are called valar and there is some detail on their qualities. anyway they are a bit like nature elementals, they go about creating this perfect world, and melkor goes about marring it.

each maia sung a part of the song, so.... each maia has their own particular insight into illuvatar's will!

in their own way, they all foresee the coming of the children of illuvatar (first elves, and then men)

they begin to take elf-like forms, when they want to, but remember these things aren't fleshbound.

aule isn't the foremoest valar, but he's up there. he creates his own children before the true children appeared, but they are bent around his own vision of the children and also his own blindness. illuvatar isn't too impressed, he allows the dwarves to exist, but only after the true children of illuvatar have appeared.

yeah i'll stop there because i'm tempted to include all sorts of details. hopefully i've conveyed that it deals with god, consciousness and the nature of reality quite directly, but of course it is only one man's take on it.

[The Dude]

^^^

NERD!!!

Nah j/k

even all the cool kids read lord of the reings, i havn't bothered yet, seems like too many names and characters to remember for it to make sense to me. In a movie on the other hand..

I like mythologies, even starwars with its epic themes of good and evil has strong resonance with .. the times it was released in.. look at the epic battle of the counter culture versus the mainstream machine.. how since the 60-70's it has come full circle in the new millenium when anakin .. ie: Our youthful innocent potential, gets manipulated by the evil sith lord in synch with our demise into materialism and fear politics with the coming of the new millenium.. a loop through history, repeating.

not sure when we got lead into this dark tunnel of material fetishism, but nowadays compared to the 60-70's when there really was a counter culture and "a new hope" we are now experiencing the "revenge of the sith"... Artists, even as wanky as George Lucas.. have an inherent mystical connection to the subconscious, we all do, and all our creations show it. The way mythologies like LOTR, Star Wars and most of all the matrix mirror reality is really fucking cool. makes me wanna write a book for someone to direct in 30 years. .. that's cool, as far as nerd-cool goes.

...

Anyhow time goes in loops like that so hopefully we're on the way back; it's a constant power struggle of the forces running our lives.

Simple break down.

Dark Side

Media projected reality = occlusion

Fear based direction = manipulation

Material Obsessions = Distractions

Light Side

Self projected reality = revelation

Idealism based direction = motivation

Selfless, without need of possessions = Happiness.

The invisible landscape is easily seen in the progressive shapes of our collective consciousness over time.

Edited November 25, 2007 by El Duderino

[Hugh Bliss]

Think also of the outcome and how the Dark Lord Sauron's agenda crumbled. That's what Tolkien's story is all about - good overcoming the one-eyed evil!

Has anyone heard the rumor of Tolkien's membership of the Golden Dawn

I think that alot of things Tolkin said were a cover for something else.

Tolkien was not the "common man."

Alan Watt on a recent talk, gave a brief explanation on Lord of the Rings. How the Hobbits where symbolic of the human masses, Us the little people. I can't remember anymore. But he does talk about stories told in alogerical form and "Predictive programming" of the psyche. And drops authors names who are mostly Masons, or working for them. One author may have a team of writers working together. But the basic ideas for the books, will be from a higher power.

In the beginning, Ilúvatar created spirits named the Ainur. Ilúvatar made divine music

In the beginning was the word.'

Thus is the importance of sound emphasized to us, although so simply and directly that it is easy to miss its significance.

The universe was created by sound/music, vibrations in the ether

The cairvoyant primitive peoples actually saw the shapes produced in the ether by sounds. They respented these shapes as the letters of their alphabet. So most words and sounds of the early languages actually controlled the represented that which they expressed. When those people called on the god 'Ra' they established a connection just as definitely as we do when we tune in our wireless to Paris or London.

The opening paragraphs of Ainulindalië tell of the time before Time. First to be named is ‘Ilúvatar’ (‘Father of All’ , also called ‘Eru – “the One, He that is Alone”’ ). Ilúvatar, as his names imply, exists before and independently of all else. He can take a particular concept, thesis or theme, and ‘give a secret fire to it’, will it into being, so it exists as a distinct object or entity. Such existence itself is a re-presentation and concretization of divine conceptualizations: there is first the idea, then the concrete, or ‘objective’, manifestation commensurate with that idea. The ‘Ainur’ (meaning ‘Holy Ones’, singular ‘Ainu’ ) are the first such concepts-embodied or themes-realized; they are the children ‘of Ilúvatar’s thought.’ Upon their creation, when nothing else exists, Ilúvatar teaches the Ainur the art of ‘Music’, which becomes their life and work. So Heaven becomes filled with the making of Music.

With each Ainu comprehending at first only those secondary ideas and themes most closely related to that primary idea-theme-thought of Ilúvatar’s which pre-figured itself, these creative musical elaborations only gradually, through exposure to each other, become collaborative. The compositions revolve around themes given to each Ainu by Ilúvatar, which themes correspond respectively to those primary themes/concepts embodied in each Ainu – that indeed are each Ainu. Through listening and contemplation, an Ainu becomes aware of other Ainur, other musics, and the cultivation and adornment of other themes.

After a time of Music, Ilúvatar proposes a first ‘great’ design/theme/plan to all the Ainur at once: a symphony for His pleasure. He then charges them with the collective elaboration of this great design/plan/theme. They are to play themselves at composition.

While it is true that the Ainur are Ilúvatar’s thoughts embodied, they each have a life of their own, and are expected to utilize their ‘freedom’ by cultivating the grand theme. Only in the future, at the ‘end of days’, will all the created beings of Ilúvatar fully understand not only the divinely provided concepts and themes they each personally embody, but how each relates to all the others and fits (as per Ilúvatar’s intentions) in the entire greater scheme.

Every object and every person has a key note

Sound/viberations can be used to create or destroy... people tune their consiousness into good or evil (vibrations)

There is only love or fear. ALL human behaviors and emotions are either Love-

based or Fear-based.

it all comes down to love or fear.

love / fear

Christ / Satan

good / evil

look at every situation in your life, what category to they fit into...love or fear ?

what vibration / song are you a part of ?

Unconditional love,

Deep down in our hearts thats what we all want.

Love comes from the heart, and eradiates outwards in the the 4th dimension

All of creation sings one song. One song with one verse - the universe. Every being and every element is assigned one note to sing. The same note reverberating throughout all existence. It is the sound the angels make, exalting before the throne of God.

Free will exists but the only choice one may make is to sing or not sing. To fulfill your purpose or to remain silent. To resist. But even that resistance, that keeping silent, drives the song inexorably forward, adding rhythm, the spaces between the notes, counting out time. It all serves the same purpose, Ilúvatar purpose. Those who resist fear Ilúvatar, running from his embrace. Their way back to Eden is barred by the Cherubim with the flaming sword, by Christ (vibration of love\4th dimension) on the cross, who opens his arms to welcome you back into the one song, the one verse. The No-King waiting on the edge of Apocalypse where time and silence and rhythm are obliterated by one continous note arising from all Creation.

WOULD it were anything but merely voice!’

The No King cried who after that was King,

Because he had not heard of anything

That balanced with a word is more than noise;

Yet Old Romance being kind, let him prevail

Somewhere or somehow that I have forgot,

Though he’d but cannon - Whereas we that had thought

To have lit upon as clean and sweet a tale

Have been defeated by that pledge you gave

In momentary anger long ago;

And I that have not your faith, how shall I know

That in the blinding light beyond the grave

We’ll find so good a thing as that we have lost?

The hourly kindness, the day’s common speech.

The habitual content of each with each

Men neither soul nor body has been crossed.

William Butler Yeat

The purpose of earthly music, then, is to reveal the music underlying everything already. To channel the exaltation of the angels and spirits before God’s throne. To bring forth in Revelation that which is hidden, occult, within each individual - that we may experience together, to share all the same notes and be inspired to lift too our voices and fulfill our purpose, our Apocalypse. One note, altogether…

It’s fucking great to be alive, ladies and gentlemen, and if you do not believe it is fucking great to be alive, you better go now, because this show will bring you down so much - Zappa

When I think of the sound of creation I always think of the music by Ravel.

Before We look at the world of sound we shall first explore the secrets of colour

Some poet has said, "Colour is not in the rose but in ourselves"

What is colour?

Out of the vast scale of Nature's vibration a tiny octave is registered by the optical nerves. Our physical eyes respond to these particular vibrations with a reaction which we know as colour. If we had no eyes those vibrations would exist - but as what ?

Medical science has proven that different colours have didefinite and varied effects upon our nervous systems and that they act upon us quite independently of our eyes or our minds. Their influence is particularly marked in the case of lunatics.

it has been suggested that colours are really rays radiating down to this earth at their specific rates of vibration. A red rose reflects back all the colour rays except red, which it absorbes. Our optical nerves react to its vibrations and we say,'This Rose is red.'

The perfect blending of the seven colour raysin the bright daylight gives us a white light. If the rays are split up by being passed through a glass prism they are at once visible as colours.

In the same way a rainbow is produced by the minute prismatic effects of rain in the sky. If you walk around a fountain in the sun, at certain points you will see a rainbow.

The colours are pouring down on the earth night and day.

Every objectand every atom responds to them, thereby announcing its own quality to those who are able to decipher the language of colours.

Where do these rays come from and what are they ?

Seven major planets of our solar system are radiating their various forces outwards, so that they reach this earth at considerable strength. As there are seven primary colour rays radiating to the earth we may suspect a definite connection here, and suggest that colours are really and expression of the planetary rays, observable by us as they are absorbed and held by different objects.

The planets are composed of minerals and chemicles. In each planet one particular metal is said by astrologists to predominate.

In Mars it is iron, and in Mercury it is that metal. Just as radium radiates off minute particle of itself for hundreds of years, so do these enormous planets radiate subtle emanations of their own chemicle constituents in infinitely fine form. A human being also radiates subtle emanations of everything of which it is composed. A clairvoyant ( or person with extra-sensitive sight) is able to see clours of these rays ata certain angle, and speaks of them as the persons 'aura'

Let us name the colours as they appear in the sectrum.

We take red first becourse it is the lowest in vibration, being therefor the coarsest and most physically vitalizing; its place on the scale is just above heat vibrations, and it is heatgiving in itself. As the vibrations increase in speed up the scale we come to orange, then yellow, then green, blue, indigo and violet, the violet leading us on up to the extraordinarily penetrating and rapied vibrations of the ultra-violet ray.

Let us see if we can connect up any of the information which astrologers and scientist give us about colour and the planets.

Astrologers tell us that the 'planetary colour' of mars is red, and that mars 'rules' or has dynamic power over iron. Now, it is iron which is responsible for our red warm blood - without it we should have some sort of cold pale liquid in our veins. Mars is home of the god of war, giving a martial spirit to all those born under his Sign, giving quick strength and force, vitality, power and leadership.

If we suppose that the properties of this planet are to be found in its rays which filter downwards and reach the earth as the colour red, then we are not suprised when we find that the effect upon patients of red coloured electric lamps is to stimulate, warm, excite and cheer; to increase the activity of the arterial blood; to counteract physical inefficiency, paralysis and rheumatism; that red glass windows have the same effect, and also red walls and decorations to a lesser degree. By the same token red should be avoided by those who contain to much iron, or who are in any condition of heat or inflammation. Red haired people, excitable lunatics, and bulls should be surrounded by the cooler cooler colours if peace is to prevail.

Proceeding with our investigations we find that red is the chief spectroscopic colour in any herbs or medicines, having a heating effect and stimulating effect, such as cayenne, cloves, or musk. Finally, we can turn to the discoveries of the the famous Dr. Babbitt in chromotheraphy, or healing with colours. He proved that plain water hung up in the sunlightin a sealed chromo-lens of red glass becomes impregnated with certain chemicles in a powerfully healing form, the chief of which is iron ! Such water when swallowedhas, apperently, the same effect as iron tonic.

It is the lowest of the seven of the colour scales, and it belongs to the lowest of the seven notes of the musical scale, which is C.

When C is played certain sensitive people see the colour red; and most martial music is in the key of C.

Red when predominating in herbs, coloured lights or glass, and surrounding, gives warmth, increased circulation, vitality and energy to the body, and cheerfulness, stimulation and excitement to spirit. The red flag has been used through out history for incendiarism. finally, if dark red is seen in the aura it indicates passion and fighting spirit !

The second colour in the spectrum is orange. This beautiful colour is associated with the Sun, and has also a warming and invigorating effect. But whereas red is stimulating to the body and blood, orange is stimuating to the emotions. It cures those states of paralysis which are often due to emotional reaction. It should be avoided by extremely emotional types, who should acquire balance through its complementary colour blue.

Its note is D in the musical scale. Melodies in that key have a strong emotional appeal. The metal belonging to the Sun is gold, fromWhich the alchemist beleive could contain the the Elixir of Life which rendered man immortal. Used as a medicine gold has a purifying effect.

The third colour in the specrum is yellow. We are told that colour belongs to the plantet Mercury. Mercury confers a quick intellect by stimualting the nervous system. To be quickwitted the nerves should be in an active condition throughout the body; so nothing can remain stagnant under the benefical influence of this planet. Wisdom is said to be conferred to Mercury and its yellow colour. therefore Buddha always clothed his priest in yellow, which colour has stood for wisdom and intellect through out the ages.

Yellow electric lamps or glass windows stimulate the nerves of the brain and the body and cure a stagnant condition of internal organs. They should not be used for high nervous subjects.

We find yellow predominates spectroscopically in all herbs which are purgativesor nerve stimulants, such as senna, sulphur, fig juice, tartar, phosphorus and caster oil, An extrem amount of yellow has a discastrously over-stimulating effect upon the nerves, causeing death, as with prussic asid and strychnine, which are very yellow. Dr. Babbitt proved that plain water, hung in the sunligh is a sealed lens of yellow glass, becomess inpregnated with very nerve-animated properties such as phosphorus and sodium, and that it will have a purgative action if drunk, where possibly other drugs have failed. This lens must not be entirely filled, as it will absorb such highly expansive chemicles from yellow rays that it would burst if full. It is interesting to learn that the water so treated goes bad in a few days.

Yellow is the third of the colour scale. It corresponds to the musical note of E. Its jewel is the yellow topaz, and it represents luminosity. When seen in the human aura yellow, if dark and crude, it tells of deceit, treachery and cowardice, but if pale, pure and luminous it shows higher wisdom and intellectuality.

Our fouth colour is green, standing in the centre of the scale of seven. It is the meeting-ground between thermal or heating and expanding colours of red, orange, yellow and the electrical , contraction, cooling colours of blue,indigo and violet.

Green gives stability, endurance and quiettude. We are allowed much of it to look at in nature and to partake of as nourishment. Its actions is to cool the blood and animate the nerves.

It belongs to the planet Saturn, whos metal is lead. Saturn rules the spleen which makes the white corpuscles of the blood. These harmonize the building and destroying going on in the human organism. So people with luminous green of saturn in their auras are the harmonizers and the pacifiers of the world. they stand for social stability. If the green is dark and crude it tells that its owner, so concered with affairs of others, has become 'green with envy'.

Green belongs to the fourth of the musical scal, F, whose melodies, usually in a minor key, sing of the melancholy always associated with Saturn. Its stone is the emerald, which bestow peace of mind. Therefore whether through lights, coloured glass or herbs, green ives an all-round steadying and quitening influence. The green flag and lamp represent safety and speak of guardianship of those in authority. We are told that on the planet Saturn live our guardian spirits.

Now we are leaving the heating colours and pass upwards to the cooling, contracting ones - blue, indigo, and violet.

these rays have a soothing, narcotic and antiseptic action. They are sedatives to the vascular and nervous system, subdue mania and angry passions, inflammations, sunstroke, insomnia, eyestarin, and all the irritated conditions of mind and body.

Sedatives, antisptics and narcotics contain much of these colours; narcotic flowers are blue and purple, blackberries are valued for their astringent qualitys.

Blue belongs to the planet Venus, the giver of love, devotion and harmony. Its stone is amethyst, the super - sacred of the seven sacred jewels. Plae blue in the aura represents devotion, while dark blue shows fanaticism. One can be 'true ble' or have a fit of the 'blues', according to ones outlook.

Dr. babbitt says that blue lenses filled with water and exposed to sunlight become impregnated with chlorine, cobalt, manganese and other properties having soothing and antiseptic action. This water will never putrefy. It acts as a sedative and a antispeptic, and is cooling to the blood.

the musical note of blue is G, a favorite key for the composer of romantic music.

Indigo is the sixth of the colour scale. It is, like gree, a meeting ground for all the colours. Its action through herbs and chemicles is intermediately between blue and violet, soothing both nerves and blood. Its planet is said to be Uranus and its stone is jet. In the aura it shoes dignity and high aspiration.

Vioet is the seventh and the last of the colour octave. it represents the seventh and highest quaility which man attains noble spiritual inspiration. therefore it has always been connacted with the preistly ceramonies.

Its musical note is B, in which key much sacred music is writen. Its planet is Jupiter, ruling the metal tin and the jewel sapphire. In medical action it approaches the world of violet-ray. It cools the nerves, is magnetic and antispetic.

Violet lens water keeps indefinitely, and greatly benefits the hair, eyes and digestion.

Violet in the aura speaks of honour, spirituality and self-esteem.

Above violet we begin a new octave of higher and more etheral colours mostly unseento the average eye.

The first is rose, which is the red of mars transmutted to its higher octave, where it speaks in optimism, hope and spiritualized love. The colours continue in octaves which become more sublimed, luminous, pure and pale until in the end they bend back into the glorious white light from whence they sprang. When the character of a human being is sublimated and perfected the colours of his aura also resove theselves into a white spiritual light.

In the oldem days people were able to see this. They represented it as a halo shining around the head of a saint.

Colours, therefore, are of the very deepest significance to us throughout all phases of our life. They have more influence upon us the we can possibly imagine. If we can use them intelligently, they are our greatest freinds, strengthening, soothing and inspiring.

Dark drab and dingy colours harm our spirits, morals, and health, they enourage crime, inhibition, inferiority complexes, suicide and stunted development. They actually prevent the radiation of personal magnetism, the give and take between human beings. They inhibit optimism, inspiration and therefore success.

A glance at some of our streets witht their dingyndark brinks and shieking posters will at once show us reasons why apathy, dullness and poor health are still prevalent.

Brown is the colour of the earth and hold us to the earthand to material thoughts.

Grey is neutral and usefull as a backgroundto other colours.

White reflects back all rays the rays and is therefore cooling and restfull.

Black absobs them all and is therefore warm, although neutralized.

The modern trend towards plain, pale pastels shades shows a promising awaking to a new and uplifting colour sense.

A colour campaign intelligently launched would do much cheer, inspire and invigorate humanity.

Future education will include a considerable array of knowledge which would be new to us today. The psychological influance of colours will be deeply studied, and their scientific use in art, in decoration, and in healing will beseriously developed. the art of the future will be created by mental sensitivity to effect mental response, instead of, as hitherto, being created by emotional feeling to create e emotional reaction. The differrence here may not at first be apparent.

Emotions react to the third-dimensional life, that of body and brain, and to outward beuty, to love, to suffering, to bravery and all other 'animal' attributes. The mind, on the contary, responds to the fourth dimensional and even fifth-dimensional life, to causes instead of effects, to the underlying forces at work, to the problems, wonders, patterns, ideals, plans and organisations which build up the universe. The mind appreciates colour, not sensuously, but as a certain force or quality possessing many attributes, and giving the key and the clue to the purpose of various manifestations.

The same developments will take place in the real of music. The new music will appeal to the mind instead of the emotions, and will portray the life which uderlies physical form, and the entities and forces which are at workand at play in the fourth-dimensional radiatory matter. A foretaste of this music has already been given to us by several composes such as Ravel. The very obvious musical forms (distinct motifs in separative compartments) which have described third-dimensional life up till now have clearly given way to a fusing, blending, accidental type of musical form which describes the radiatory world, the elements, the elemental creatures of nature, and the intersecting of many rays, cosmic, macrocosmic and microcosmic, from the thought of a God to the passions of a forest creatures, from the beams of a planet to the radiations of a mortal being.

The music of Wagner will live longer the most other music of the third-dimensional age, for the reason that he did try to depict cosmic happenings, and to bring a conception of the vastness of the universe and the panorama of evolution on his musical canvas.

Most astonishing of all, perhaps will be the developments with regard to perfume. Some remarkable dicoveries will be made in relation to this phenomenon which will be enhanced by men's growing sensitivity to it, and the strong reactions evoked. The scince of perfumes will become a profound and popular one. The fact, already known, that a certain note of music has a close relationship to a certain colour and perfume will be the foundation for the future science of the senses. In time music will be performed in company with its colour and perfume coplements. The practice of listening to music in a blaring, crude-coloursed, brightly lit or dark consert hall as we do today would be dismissed a barbaric impossibility.

The blending of certain perfumes, colours and musical tones will be used in therapeutically, as anaesthetics, for healing, for mascular development, for the expension of the mind cells, and for many many other purposes. Already today kindred methods are being successfuly tried out.Future eductaion, largely conserned with such delicate and delightful studies and experiments, will have much beauty and joy in it.

A foretaste of this music has already been given to us by several composes such as Ravel.

. . .

Future eductaion, largely conserned with such delicate and delightful studies and experiments, will have much beauty and joy in it.

Edited November 25, 2007 by Hugh Bliss

[ThunderIdeal]

Ainur

not maia. sorry bout that. i think maia was the name of an ainur, or just a word plucked from thin air.

looking forward to reading that post a bit later.

i remember, before i had read the silmarillion, i saw an article by jay weidner about how it all matches up with alchemical ideas.

[ThunderIdeal]

even all the cool kids read lord of the reings, i havn't bothered yet, seems like too many names and characters to remember for it to make sense to me. In a movie on the other hand..

just realised you might have thought i was talking about the LOTR books.

i'm talking about a much shorter book, with many more characters and names to remember.

i haven't read LOTR either, just little bits. loved the films.