A little after noon. You have been transplanting flowers and you have errands to run today. You are going to Cleveland tomorrow to take up the cats and coming back. Changes in plans is nothing new. Today, when you have time, begin with the description of the nave on a separate document. Later, dude. – Amorella.
Late afternoon and you have amassed a number of photographs, your own and from Flickr, as well as those in your official cathedral guide. You also have guides to Canterbury City as well as the district of Kent.
I am particularly impressed by the concluding words of John A. Simpson, Dean, 1986-2000 in the Preface of the guide first published in 2001:
“We trust that all who visit Canterbury will be moved by the Cathedral’s power, beauty and grandeur, and also glimpse the God in whose honor it stands.”
You are struck with all this quick research and review of the cathedral. At the conclusion of the guide a diagram is shown of the cathedral and the mention of several prominent places. Mark these down here and we have a good way to begin our journey into the ‘soul’ of Merlyn’s mind.
I am really, really getting into this, Amorella. Such a rush of memory and history. I cannot think of an analogy that people in general would think of such intellectual and spiritual excitement and uplift of spirit. Number one on the inside back page is Bell Harry Tower; two, is The Pavement; three, is Trinity Chapel; four, is The Corona; five, is The Quire; six, is The Nave; and seven, are The Windows. I assume you can help me come up with mental equivalents with Merlyn, perhaps using the hypothetical mind model concepts from book three for consistency. This is a lot of material though to place in one scene, so it will have to be super concise. A real challenge if you ask me.
Using the mind model as is would be confusing because of the directional lines of the cathedral itself, however, a mention or two may be presented in the transition of the ‘cement’ to the architectural ‘stones’ of cathedral description. We will do this small project step by step. The strong Norman foundation will be a starting place into the cathedral itself, the Anglo-Saxon walls below the Nave. And a memory interlude where Merlyn meets Archbishop Augustine, who was directed by Pope Gregory the Great to convert England. A younger Gregory had thought the fair-faced Angles angelic-like and had thus favored the people of the area of Kent where Canterbury lies.
I would hope daughter will one day be able to secretly scatter some few of my ashes within the grounds of the cathedral. I have an affection for Canterbury itself as well as the cathedral. I have a photo from the street near the cathedral of the north gate in the distance. The old gate the Romans took from Canterbury to London. What a thrill it was to be bussed if only in a few short sections of the old road from Canterbury to Oxford really. It was a fantastic experience for me to be a part of and to think upon even now. Not unlike the same feeling in seeing to old sign “Appian Way” on the road from Rome to Naples. To think on all those human heartsansoulsanminds who have journeyed such historical roads at one time or another. It moves the soul to think and wonder on it.
Time for a break and a post, orndorff, but add that photo of the north gate as it presently strikes your fancy. – Amorella.
Walmart run tonight, mostly for cat litter, fish oil pills, sun tan lotion and the like. We can work on the mind, the cathedral and nave later. I think you will like the jump. The dreams in the three books were from Merlyn’s mind of course, but this is not the dreaming, this is mind’s ‘center’ as John Campbell used to call it, and it ‘touches’ the soul. That is the focus, not Merlyn’s heart which can already be judged, at least in part, by his inner dreams. It is enough to focus books four and five on Merlyn’s inner mind, and this scene is a good place to introduce it.
So, this is not metaphysics except in the narrowest of focuses?
Yes, the metaphysics of the mind alone, if you will. To give this some solid geometry let’s place it in your intuitively created cardboard model, the abstracted ‘center’ of your own mind where I wrote the three books. As I helped you create this three dimensional ‘abstract’ it will serve the purpose, an authenticated place to begin . . . a place to share, if you will, the created Merlyn’s mind with your own for this piece. Place the photo here as a reminder. Any readers who have been with this blog since its inception last August have already seen this photo in a different context. Go ahead and post the photo and explanation below for anyone interested, as well as for your own reminder of how this works. – Amorella.
In the above photo below the fire in the fireplace rests the soul. The path to the unconscious is seen in the blue colored trap door on the floor to the left. In the far left corner there is a crack between the left wall and the floor. This is the way to the Dead. The ‘bookcases’ on both side walls represent invisible knowledge and understanding, and the white back wall of this mind’s center is where I, Amorella, write the words which Richard then simultaneously translates into his own mind/fingers-to-the-keyboard as best he can at the moment. That is how this operation was set up originally and it is being applied here in this scene to Merlyn’s mind instead. – Amorella.
One more point, the cathedral becomes as a four-dimension holograph that floats in the center of this particular room. It is upside down, with the roof the bottom of the ship floating in a sea of thought. The mind, as with the eye, turns the ‘cathedral ship’ upright as to how it is seen by the optics of the eye and brain. Architecturally, you read, if you remember, that the roof design above the nave was to represent the hull of a spiritual ship, so we might as well put this to use.
I do remember reading this earlier today, Amorella, but I cannot find the reference. Further reading talks about the symbols of the shape of the roof as a reminder of Noah’s ark and the like, the roof, the sky, heaven and so forth. I cannot find this reference you refer to and would just as soon strike it.
Just leave it for now, orndorff. You need to get a life as I have said before. We are writing a fiction and you are being too fussy. However, if it bothers you too much at the time of the reference in the scene then I will leave it out. You can be very stubborn and arrogant. Very human of you, boy. – Amorella. 
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