by Ernest L. Norman
Greetings and welcome again to Eros, and from across the vast distances of space we meet; for it is not space, but filled with Radiant Energies. Let us watch while we see something like a searchlight beam which seems to be forming and stealing softly across this void. It comes into your minds and enfolds you swiftly, softly and silently and thus you are taken back here to us, so that we again stand before one of the great entrances to the magnificent city of Parhelion. As you look about you carefully, you will see much that is wonderful and beautiful, and it fills you with a feeling of great awe. The planet itself is something like a huge luminous globe, which seems to lift and fall, with its Radiant Energies changing, as it does, from one of the many hued colors of the rainbow into another; and all of the things about you are likewise glowing and pulsating in unison with this wonderful radiating power which comes seemingly from nowhere. I shall talk a moment while your eyes become accustomed to looking about you. I shall ask that you be a bit patient with my tongue, for I have not used it in your earth plane language for many thousands of years. Now you are standing before a gate or an entrance over which is a symbol of an ancient musical instrument called the lyre; and, as you have correctly surmised, you are about to enter into the portal which is devoted to the cultural arts of not only your earth plane, but of the countless other similar planes throughout the galaxies of the universe. The arts I am referring to are music, drama, literature, painting, and sculpturing. As is the case with the other entrances of this great city, when you must pass through the portals, they will condition you in a way whereby you may be able to see something of the nature of the culture and of the sciences, if I can call them so loosely.
This section of the city is devoted to the cultivation and to the enlarging of these respective arts or cultures in the earth planes. I have not made my name known yet; and if I may beg the kindness of your indulgences with me, may I say that I am just he whom you called Kung Fu (Confucius) on your earth planet, and that I had collected some of the truths which were expressed in my native Chinese many years ago on your earth. So, as I have said, I am not too familiar with your ‘Engliss’. It may be possible a little later on, that someone else may resume the privilege of conducting you through the planet which is devoted to the cultures of your earth plane. We believe it best that we bring you directly here, as the distances, or the change in vibration, which is more correct to interpret, is of a considerable change, since this particular planet is in rather a peculiar position in our galaxy of stars. As we pass into the entrance which is dedicated to the arts and sciences of the world, you will see several of my fellow countrymen; one you knew as Lao-Tse; and Master Hilarion who governs this section of Shamballa is also here.
Now let us pass through the portal and go into the foremost of the laboratories which is devoted to the teaching and to the cultivation in the higher spiritual sciences of these arts and cultures. There is a difference between this one and the former section which you previously visited, inasmuch as you will not only see and feel different, but all things about you are also of a much different character. In the former section, things were devoted to science in a more pure and relative sense. It was constantly bathed in a white light, which also gained its strength from some of the longer rays, which your scientist calls the infrared spectrum. Here in this particular section, however, we are using some of the more subtle of the stimulating shades of colors which go into the pinks and coral shades. Color, however, is of a different nature and of a different expression than that with which you normally associate it on your earth plane. There you merely use it as a convenience of identification of objects around you, so that you may, as you term, see. Here we do not have physical eyes, inasmuch as physical eyes would be useless, since all frequency spectrums are of a much higher order and relationship. Your physical eye would not respond to any of the colors we have here. Color here means that it is the basic emanating source or strongest radiating force which determines the nature of the particular function which we do in these various Centers. We may also say the same color is dominant in the planetary systems which we teach and to which we express.
Now that we are inside the building and walking into some of the great rooms, in the front part or section, which is the periphery of the rim, we shall come to a great cathedral-like room, several hundred feet high and many hundred feet wide. At the far end of this great cathedral-like room is a massive pipe organ, similar to those you may see in a great cathedral on your earth plane. Here it is that we teach about the relative functions of the type of vibrotherapy necessary to the healing processes which are stimulated through the various organs of the human earth bodies, when the individuals go into the churches where these great organs are found. As the student progresses through his studies, he is made aware of the nature and of the intensity of sound and of its action in the various nerve centers of the body. He is also made aware of the resonant chord and sound structures which will best serve his purpose.
I might tell you that the Master who is presiding over this particular section or room is a great composer, one who flourished on your earth plane and was known as John Sebastian Bach. Here, he teaches his students who will make their appearance on some of the earth planes in the future. I see you are gazing in awe at this organ. Indeed, it supersedes anything which you have ever seen even in your great Salt Lake Tabernacle; the pipes themselves are made of some pure crystal-like substance with which you have become familiar in these various planets; and these long pipes are assuming more strange and fantastic patterns and lengths and dimensions than you had ever believed possible. I might point out, too, that the crystal structures themselves give peculiar qualities which are unheard and unnoticed by your physical ears; nor could they be properly identified by such ears as exist in your human bodies. Yes, even the floor and the seats about you seem to be of some very beautiful pastel shade of pink, which seems to be very stimulating and yet very pleasing, and has the feel to your sense as being very soft to touch, mentally, if I can express it thusly.
Now come with me and we shall go into one of the other rooms. Let us step through this nearby doorway here, and enter another very large classroom devoted to the art of drama. Here you will notice that the room is divided into many sections and while there seems to be no visible partitions, yet there are definite partitions, in a sense of the word. Here you will find that drama in its various expressions is being taught to the future teacher, who is at the present time a student. In the various relative earth plane expressions, he will, in the future, therefore find himself in a position to be able to give a much more correct interpretation of whatever plays are, at the moment, on your plane of expression, being portrayed.
Here we see the various interpretative forms of drama as they exist either in terpsichore or in the spoken word or in such phases as acting out the various interpretations, either silently or with the voice or with the song. Some of these, of course, have been written by such great masters as Rossini, Verdi, Puccini, and other composers and musicians, who lived on your earth hundreds of years ago. There are other teachers and masters who have come from other planets, scattered around in the different planetary systems. As you can see, this room itself stretches away until it is almost invisible in the distance. There is one thing that we would like to impress upon you, and upon those who read these lines; the vast size and the immense nature of all of the things which are being done here. I am giving you something of a synopsis which will enable you to best enjoy and to view later on the actual existence of the planet under whose control this section of Parhelion exerts its will. Closely connected here are also other large classrooms which relate to various phases of teaching in the field of music, of the written word or literature as stories, plays, historical narrations, all of which are of the more intellectual expressions of the physical man.
Now here is another large classroom devoted to the teaching of such forms of expression as prose and poetry. As you will see, this particular room is especially softly radiant, much more so than any of the others. You would naturally associate classrooms with desks or with such paraphernalia as would be found in the school rooms of the earth; however, this is not so. Most of these classrooms if we can call them such are not actually classrooms, in the sense that you would associate with your earth plane classrooms. Instead, they are expressive of their own particular art or science being taught here. For instance in this large room, which is being devoted to poetry, to prose and to such of the finer of the more literary arts, we find surroundings of extreme pastoral beauty. Here we find the most beautiful verdant gardens which are possible to imagine. We find bowers covered with rose blossoms, we find pools of clear crystal-like water, we find huge moss covered stones, and the softest of grass. We find everything which is conducive to stimulating the more aesthetic nature of the student and the teacher. There are none of the bare drab classroom appearances which you might associate with this particular expression of art.
I would like to point out that your modern educational systems would benefit much by changing the drabness of your classrooms into something more conducive to the more pure intellectual inflow and outflow of thought transference. As in the case of the room with the large pipe organ, there, too, you saw everything of the inspirational nature which you would attach to such a magnificent display of music and its reproductive mechanism.
Let us now pass the hall and enter another room or large section devoted to the expression of art or sculpturing. In your various earth planes you will see much of this science. It is very necessary that mankind in the material planes should know of the proper usage of stone, not only in his ability to carve shapes that may be suggestive to the human form, but that he may also carve or emblazon insignia and shape available stones into suitable building material or other edifices. So it has always been thus through the pages of history, that man is constantly associating himself with the craft of carving the stone of the earth. In the ancient civilization of Egypt, the Egyptian was very adept at this art and knew how to harden their copper tools so that they were almost as good as the steel ones which are in use today. The ancient Egyptian was very clever in this type of science; and he has left great edifices of stone which have endured through countless centuries, and will endure for countless more. The art of stone or sculpturing is not necessarily confined to the carving of some statue which may grace a museum, but includes the various expressions attached to the processes using the natural stone of the earth planets.
In this room however you will not see any student actually using any such things as mallets or chisels or any of the other laborious manipulative processes, which you would customarily associate with this expression. Instead he is studying and placing within his own mind the various fundamental concepts necessary to his expression. Later on in his physical body on some earth plane, he will be intuitively aware of what to do in some particular instance or he may develop some new process which will make him an outstanding exponent of his particular expression of sculpturing.
There are other sections of this particular portion of Parhelion which are devoted to such of the arts as the composition of music. Here again you will find that the student is not hammering out his learning on some piano keyboard; neither does he use any of the other stringed or repercussive instruments. Instead, he is studying the fundamental sciences which involve the proper tone combinations, consonants of values relative and conducive to various types of harmony. Like the sculptor, he will also find, in the future earth plane existences, new ways of expressing his composition which will make him outstanding in his field. I might say that all of your great earth plane musicians received such training here, many hundreds or even thousands of years before they made their emergence in your earth plane. If I were to name even a half dozen or more, you would recognize them all instantly as those who had created the great masterpieces of the symphonies and of the operas which have endured through the centuries. I could name others who have contributed equally great contributions to the posterity of mankind in your earth planes, individuals who have also received their teachings here, before emerging on your earth plane. Your encyclopedia would furnish you with hundreds, yes, even thousands of these names. You could start with Shakespeare and go on down through the list with such men as Browning, Keats, Shelley, Longfellow, not to mention innumerable others. Great painters have also gone through these sections: Van Dyke, Landseer, Michael Angelo and a host of others which would read like a ‘Who’s Who’ in your encyclopedia.
Again I must extend my humblest pardon for not being familiar with your ‘Engliss’ language. It is with difficulty that we are conveying even one small fraction of what actually is here in this great city of Parhelion. However, as time goes by and sections are added to your knowledge you will begin to understand something of the vastness and scope, in a small way, of the tremendous greatness of these extended processes of what goes on here; and yet, my dear ones, even Parhelion and Eros are but one small part of such expressions throughout the vast cosmos which you call a universe.
We have named it in your earth language Parhelion, which means a bright spot on a halo; and so it is,-such a bright spot on a halo. Our purpose is to impress you with the magnitude of the intelligent nature of the great Force you call God. This is an extremely difficult task, but it must be done, because of the Second Coming of what you call Christ; for the coming of Christ is not the coming of a personality, but is the coming of a great infusion of Spirit and intelligence into your world, whereby you will begin to live in such a way that you will be spiritually interconnected with your fellowman. Each and every one of you will then express some small portion of the Christ; that will be the Second Coming. Now I see the power is dwindling; so may we rest, with God’s love.
Excerpt from The Voice of Eros