Dr. Ernest L. Norman

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Nicola Tesla

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CHAPTER 15
Robert and Elizabeth Browning

Greetings, dear friends, this is Robert. You know, Elizabeth just wasn't happy until I took over something of a transmission or became the guide for one of our tours. However, I would warn you that it might be a short one. We are very thrilled that we have the opportunity of speaking to you people on the earth. It was just about a hundred years ago that we were there on the jolly old earth but before we get into this tour, I have a little secret that I would like to divulge and I don't think the person involved would mind at all. She is a very shy person and that is probably the reason why she did not reveal her true identity. I am speaking of lona. I believe she conducted a couple of your tours. She is, as she said, the biocentric of Hilarion. Her real identity is Eliason. She actually works in another position in Parhelion somewhere around on the other side, the number two gate, I believe, and has something to do with the education of children. However, she does come in occasionally on demand or whenever circumstances are such that there is a particular need for her services. Elizabeth and I were a bit chagrinned after our last tour to find that we had completely forgotten to take you into the museums or libraries of the two centers we have visited, so with your kind indulgence, we will start where we began in the section which is devoted to literature. We were somewhat overwhelmed by the ceremony of initiation of the group of people who became neophytes to live among us.

Now the section here as we have reentered which is devoted to literature and embodies those arts which are relative to something which has to do with writing, such as poetry, prose and the various different types of writings which are fiction and nonfiction as this was explained to you somewhat as we walked along by Elizabeth. Now let us go up into a floor which is above these many classrooms and see something of the museum. We have determined to make you very thoroughly acquainted with our beautiful city while you are here because these opportunities just don't come along every day. Naturally we are very proud and take a good deal of civic interest in what goes on about us. This pride is of course justifiable. As we progress you will see that we have a great deal about which to be proud. Now we are up in the library or the museum above the main floor where we will see what progress man has made in his various facets and phases of his literary efforts through the ages. Like in many of the great museums and libraries you have already visited, the vastness and size seems to overwhelm you and it is the same here as it is in many other places. Now here is a corridor where you see there are a lot of glass cases, something similar to those you saw in Parhelion. Here we will see the first birch bark writings of some of the more primitive forms of man as he wrote his various word pictures with a piece of charcoal on some piece of bark or a very convenient stone. Here are clay tablets which came from the pre-Babylonian era. This little clay tablet, just in case you are interested, happens to be a love letter from some swain who was courting some fair young maid. You can imagine what a young lady of your time would think if she received such a letter because it weighs about five pounds. Going on a bit further we see various types of writing. Here is an example of Sanskrit. It is a very ancient language and had its origin from some of the other planets in the solar system. We see examples of the early Egyptian hieroglyphs or the glyphic forms of writing. We also see types of Aramaic and ancient Chinese and such various and sundry examples of the more primitive types of writing, if we can call them such, which have existed on your earth plane. You will notice, however, that there is a striking resemblance in some forms of writings. For instance, the figure of this eagle on the totem pole of the Alaskan Indian is the same as the Thunderbird of the Zuni and is also depicted as a sacred bird in the Aztec religion. You will find it also emblazoned on the shields and on the chariots of the ancient Egyptians.

Now, of course, all these languages and writings had their origin in the ancient root races of the world and of other worlds and planetary systems. But let us go on a little further into the archives of this vast library which you see before you. They are all books which are dealing relatively with not only your earth plane but with a number of other planets which are revolving in different solar systems. They are a little different than the books you saw in the library in Parhelion inasmuch as these are more reasonable facsimiles of the, original books. The leaves, as you turn this volume here, seem to be more like the original paper-like substance with which you are familiar in your earth plane books, also the size is more relative to such books. And so as we look up and down these great corridors, we see numbers of students and Initiates who are browsing among these books and great shelves of this huge and immense library. They are all learning something of the drama, the art, the poetry and the various other facets of the literary science which deals with the histories of many races and evolutions of mankind in many planetary systems.

Now that we have obtained somewhat of a more prospective view of this center, let us go next door to the one which was somewhat visited in our previous exploration, the one which is devoted to the various inspirational sciences which can be classed roughly as drama. Drama in a true sense means stage presentations, plays, pageantry or various other types of exhibitions which denote some message or form from some facet of human life such as it exists in the immediate environment to which it is associated. On your earth through the Renaissance of a hundred or so years ago, there was a great upheaval not only in the literary world but in the musical world as well, so thus we find there were great stage presentations of many operas. There were great revivals of folk music and dancing. There were also enlarged endeavors in the field of ballet and other forms of Terpsichore. Let us peer in one of these rooms we are passing by because I would like you to see who is teaching and who is interested in directing the choreography of this particular ballet. As you see the figures on the stage as we enter this room is depicting your familiar Swan Lake Ballet. The master himself is Tchaikovsky. He, of course, belongs next door in the section which is devoted to music but he often comes over here and conducts a class when it is something of special interest to him, such as the one we are seeing now as it was originally written and composed by him on your earth plane, and so he is naturally in the best position to so conduct the choreography and explain the libretto of this wonderful and beautiful ballet. The participants themselves, are, of course, the people who are something more than the neophytes. They are learning the more intricate and inward expressions of these ballets in a spiritual sense so that they will be able to more fully enter in and capture the true meaning and spiritual values such as they were interwoven by the composer at the time of their conception.

The floor above these many classrooms and stages is also devoted to, shall I say, the museum. I don't like the word museum but we have to use it here as it is the nearest thing which we can get to describe a place where we store such things which are relative to this expression. In getting up to this level, we see just as we might expect that all of the things here are more or less done in miniature. You saw some of these things in the city of Parhelion - small cases, where there were electronically activated figurines or mannequins which went through the various acts and stage presentations. Here there are numerous of these scenes also but a great deal of s pace is also devoted to the full-life presentations of these various types of the dramatic forms and the inceptions of such eras of expression, if they can be termed such.

William Shakespeare, as you know, ushered in a whole new age in the field of dramatic art in his various plays and was rather closely followed in several other different authors hips as they appeared In your earth plane in later periods of time. Shakespeare, of course, is immortal because he truly portrayed the more fundamental concepts of man's nature. These are just the same today as they were in his time, however, I see that you are just a little impatient to visit the section which is devoted to music which is just next door and so I will leave the readers to more or less fill in the various other things which can be seen about this large hallway which is devoted to portraying the spiritual science of drama. My only regret in this circumstance of our exploration is that we cannot devote more time to a fuller and more complete exploration of these various centers. The whole city itself and the life here as we live it would be very worthy of a large volume all by itself; however, the book in its entirety, as I have been so informed, will be one of a very large size and indeed it must be so, because it embraces the seven different functions of the Shamballa which have long been a mystery to the people of the earth. It is, as you have begun to find out, a huge and vast project to portray even the smallest fraction of the various functions and the many facets which are relative to these different centers.

Now we have finally arrived into the great hall of the huge section which is devoted to the expression of various types and forms of music. Don't expect to see a jive or bebop here. This type of music is strictly, as Elizabeth said, a degenerative form which is born out of some psychological principles of rebellion in the minds of the younger generation on the earth plane. However, we are dealing with many different types of music here which are of the more inspirational nature. We shall find out something of the nature of the operas and of the ballets and while they may seem to be very closely related to the field of dramatic art, indeed they are so, for one would be useless without the other. Could we imagine an opera being portrayed without music or could we imagine it being portrayed without drama? Nor would a ballet function any differently or fare any better and so it is that these two spiritual sciences are very closely interwoven.

It is at this particular point I would like to point out that many of the more advanced students in music who have come from your earth and other earths finally make their appearance here and study in their many and various related facets in such musical fields of endeavor in which they have embarked. You will find many of your foremost orchestra leaders, composers and other expressionists who are studying and who are actually reenacting something, in a higher and more evolved spiritual state of consciousness, of the life which they portrayed in your musical world on the earth. Here we see the great masters such as Beethoven, Brahms, Bach and others who make appearances and teach classes at regular intervals. We have some of the others who are somewhat of the lesser or lower initiates who also conduct regular forums or classes and exhibitions. We find men from your earth plane and women, such as Paganini, Clara Schumann and her dearly espoused husband. Tchaikovsky makes his appearance at very regular and frequent intervals. I could name a whole host of other musical composers who have at different times appeared in your earth plane and left behind them vast treasures and wealth of music. You might say Mendelssohn, Handel and others who are quite well known, although they are in somewhat of an advanced mastership, yet they too make their appearance and conduct regular class work.

As we wander about these various great corridors and halls which have been roughly called classrooms, we see actual orchestras in full function led by some rather prominent leaders, several of whom I have just mentioned. We also find that there is a great deal of individual instruction and in some cases, the instructors become the pupils when the higher Masters come in from Parhelion or from other higher dimensions, which they do occasionally, and teach some of the higher forms of the musical art. To you musical expressionists on the earth plane and who are so vitally interested in this inspirational science, may I say to you that there is a whole new age of understanding in this realm which is just coming into the consciousness of the earth plane people. Scientifically speaking, we call this the field of vibro therapy or the healing art such as it is induced by outward stimulation from musical sources. These principles are somewhat known to some of the earth people at this time, however, they have just only partially begun to explore this vast new field of vibro therapy.

In the coming generations and for hundreds of years you will find entirely new forms of music which will be springing up and which will deal much more directly with such fields as are relative with nature and with the higher spiritual realms of creation. It has been a long time since there has been any really worthwhile music produced on your earth plane as compared with the masters who flourished a hundred or two years ago but you may rest assured your day is coming in the future. There are great numbers of students and teachers in this center who will, in the course of the next few hundred years, reincarnate into your earth plane and teach a whole new vital concept of music, one which will exceed your fondest dreams. It is also almost needless to add that there will be a great number of new types of musical instruments which will also come into use and expression. These musical instruments will be more of the electronic nature and will be manipulated or controlled in their expressions by the musicians who have learned the subtle form and art of controlling these musical instruments to their utmost capacity.

Elizabeth and I, as you know, devote most of our efforts in the field of poetry. We have been quite successful in some small way in doing a bit of teaching to some of the younger students. Our city of Coralanthea is unique in some ways. You will find great numbers of children here and particularly at this time as it is quite obvious that your earth plane today is going through its evolution toward a new high spiritual goal and must have a new race or a new type of people to live in such a world. The students that we have here are of the younger generation which will form the future generations of your new world.

Now that you have obtained somewhat of an idea of this section which is devoted to music, let us go next door to the section which is devoted to art. You will wonder why art was not included with sculpturing as they are both rather closely related in many respects. Well, we can say in a broad sense of the word that all of these inspirational sciences are very closely related but it serves a good purpose if we separate them in their true perspective as it gives each individual student a much better chance to completely channel his own talent. In the section which is devoted to art, as you would naturally expect, here we find art as it is expressed to its fullest measure. With the exception of Parhelion, I doubt whether you will find any place in the immediate universe, if I can use this word at this time, which would so adequately express in the relationship of your earth plane understanding what is meant by the true concepts of art. Just as in the other centers, we find many of the old masters of your earth plane. They have been named somewhat to some degree; if you will consult your encyclopedia of history books, you could probably add a hundred or more names to those already named. They are either functioning here, living here, studying or teaching, just as in the case of the other inspirational arts.

So let us step into this nearest doorway into the (pardon the term) class room where we will see something going on which will express how it is that art is taught or studied here in this section. This is like some of the other places you have visited, more like a large vast gallery rather than a room. Here you will see wonderful and beautiful pastoral scenery which is very inspirational in nature, just as in many of the other places where these inspirational sciences are taught. We have devoted much thought and time to suitably constructing these rooms so they will be most conducive and inspirational to the students and teachers. Going about, we find individually and collectively in groups various neophytes or students and their teachers or we may find a single artist with his easel and brushes and palette very busily engaged in portraying some facet of life as he sees it upon his canvas. Going into some of the other rooms we shall also find students who are studying the various chemistries which go into the making and mixing of paints, pigments and colors. Such things are very necessary and vital if an artist is to portray the real esoterical values on his canvas. Art is not wholly confined to the portrayal or expression of paints or water colors upon canvas or paper but art also expresses itself in hundreds of other different ways. We may find artists here who are delicately tracing a beautiful design in some object of ceramic art. We may also find such things as are more closely related to the section which is devoted to sculpturing. As students here will also begin to learn the various different designs both ancient and modern which have gone into the art of silver and goldsmithing. We may also find out it is that an artist first learns how to carve the head of a Mona Lisa on a cameo and so it is that many students, while they are not strictly confined to this section, very often pass back and forth from this section to the one which is next door, which is devoted to the art of sculpturing. I had hoped to finish this transmission by including the last of these sections. However, I see that you are beginning to tire somewhat so, for the present moment, with God's great love, rest in peace.