Earlier in the mid-morning. Routine has settled and you are coping better. Owen and Brennan are asleep. Carol and Kim are having breakfast. You had a peanut butter lite on a piece of multigrain bread and half a cup of two percent milk filled full with cold water. You are in the living room brown easy chair with your feet propped up as the women wake up the children. To you this is an uneasy sign that you will not have complete control of your morning routine. – Amorella
True. I am already affected, just by the commotion alone. How people with supposedly focused artistic talents get along in such a world is beyond me. Here we go. The happy little guy holding on to the railing while coming down the stairs shouts, “Hi, Papa!” And it is time for toys and PBS’s “Cat in the Hat” while Grandma works on breakfast.
Post and let the sun shine out, old man. - Amorella
Late morning, Carol, Owen and you are at Heinen’s grocery near the corner of Green and Cedar – one of your favorite Cleveland stores. You and Owen have the windows down and sunroof open as it is a pleasant Wednesday morning on the near east side of Cleveland. – Amorella
Another errand, this time to Target on Cedar for meds for Owen – always something, ay orndorff. At least you can relax with some classical music provided by the musicians who played at Kim and Paul’s wedding: Spring, Sunrise - Sunset, Water Music, Autumn, Ode to Joy, Fantasia, Mozel Tov and other like selections. – Amorella
A return to K&P’s home. In yesterday’s post you mentioned, “the earth is shaded by souls”. What is the ‘light’ behind the souls that causes the shade?
Metaphysics, orndorff. First, the implication is that souls are constructed of a substance that can block ‘light’. Now, to your question, “What is the Light?”
Elucidation: an explanation to make things clear. From: Oxford-American software for the MacAir
You, Amorella, are implying that souls can mudify things.
Mudify is not a word, boy, but it works in this situation. – Amorella
As far as the Merlyn’s Mind books are concerned, how and why can souls mudify the heartsansoulsanminds of the Living, Amorella?
After dusk. Everyone had last night’s chicken divan for supper but you quietly upchucked yours and switched to peanut butter lite, a gram cracker and a Zero cola instead. Paul took Owen up to bed and Carol and Kim are once again in the kitchen. That takes you up to the present and a return to a house in a state of library quiet.
What is the metaphysics of light and souls and more importantly, how does it effect the storyline?
Heart and mind have adapted to a natural built sense of circadian rhythm. For instance ‘poetry and music’ come from the heartanmind not from the soul, though the poetry and music can be ‘soul felt’. Reason is a discipline that accounts for poetry, music, and all the arts, but the soul is un-reasonable as it is what it is. Your immediate thinking flashes to an angelic sense of seeing directly from its point to another angel or possibly even G---D and missing the forest of physics in the common area between itself and another metaphysical being. The soul’s enlightenment is similar. It touches and is touched by other souls but in between are the heartsanminds or mindsanhearts, if you will. This cannot be helped but it can be better understood.
A calming trance-like state can sometimes help improve this interference. Time and space are conditioned as well as physical in appearance and in reality a far as the human and marsupial-humanoids are concerned. In the books the tendency for continued conscious survival after physical death is the acceptance of the heartanmind outside and the soul within much as the physical aspects of biochemical life are outside and the heartansoulanmind within. However, Merlyn, in order to exist in his timeless and no-space circumstance (for movement in and about the physical and metaphysical dimensions) – must be within a trance-like state always or as mentioned in book one as trancephysics.
I have checked and found an immediate explanation in Merlyn’s “Prologue” of book one, Braided Dreams. Here it is:
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Prologue
The Dead tell no tales, they dream them simultaneously in sets of threes. One dream is set in the present, another in the past, and third in the future. All interrelate because they are from the same dreamer. Each of the three dreams is ‘within itself’ as an existential document. Each dream is in a chapter segment with three subdivisions. The dreamer weaves the three story dreams as one would weave an English braid. The Present, the first plait is invisible to the Dead but known nevertheless. The past, the plait on the right, is a spiraled, corkscrew-fashioned as is the future, the plait on the left, is likewise, thus the dreams can be consciously envisioned three dimensionally as a double helix with the invisible present up the middle shaft.
The reason the Dead dream this way is the root of what they are, the self-conscious remnants of a human life once lived. In the dream state, they are but a shadow of their former selves, and that shade is their DNA. When alive the Dead had a conscious sense of life. To this each added herorhis own sense of meaning and purpose. This sank into the unconsciousness, the mind on automatic. When the Dead dream, their consciousness and unconsciousness switch places. This dream sense is understood through underlying symbols, metaphors and personifications that distribute themselves throughout the dead dreamer’s dream. No one expects a dream to be real. It is merely a way for the Dead to keep in touch with those who carry on their mother’s DNA; who in turn, through the Living, continue to push Mother’s DNA into time, place and setting.
This is the first book of Braided Dreams of the Dead. The braiding function allows the dreamer a separate consciousness in our present life. As the Dead were too busy living, many didn’t fully understand the present when they were alive. Self and/or family survival is usually the first perquisite among the Living. Merlyn has had plenty of time to think his dreams through.
Each past dream and each future dream starts as a moving spiral, something into which the dead dreamer can slide through into our present. The past and future are each as a wrapping arm to encase the present as one of the Living experiences it in the early twenty-first century. The dreaming is an art form not a fact such as observing the sun rise in the east or watch it set in the west. Some may call sunrises and sunsets nature’s art though, and if you can picture the sun rising in the east and setting in the west both at the same instant, the you living your conscious life, you already have a sense of how timeless this braided dream book is. You sense what it is to be dancing with one of the Dead.
The root of these dreams with a present, past and future is the dead dreamer, known on Earth as Merlyn the Magician. He lived in the sixth century in real life, but this is a dream so it makes no difference when he lived. What is important is that he once breathed the same air we all breathe, and he lived under the same sky we all live under today.
Consciousness and unconsciousness set in the mind of the Dead. This is the origin of the double helix of dream segment after dream segment. Twenty-one segments of present, past and future are rounded-out as twenty-one large stones in a circle of three smaller stones. The three smaller stones represent the one large one on the outside. This is the symbolism used in the days of Merlyn on the earth known as the Isles as well as the rest of the world. This is a braiding of Merlyn’s dreams is not mine. I exist in the dream as Richard Graystone and as such, I am a part of Merlyn. Each of Merlyn’s dream tresses is, as a matter of record, lucid dreaming. I, Richard, appear from time to time in a variety of characters, narrators, or facilitators.
If dreaming is as a modern communication devise, then I, the author, am as a chip on the circuit board. This radio-like circuit board analogy makes a quantum leap from dead Merlyn to the Living via thought waves in the mind alone, separate as thoughts are, from the physical reality of the brain. Thoughts alone have a dream-like quality to them. You cannot prove a particular dream a dreamer has. A researcher can read the scientific monitors attached to a dreamer to analyze that a dream is no doubt taking place by checking the rapid eye movement associated with the dreamer, but only the dreamer can tell you what the dream was about. This book focuses on Merlyn’s dreams and their most probable braiding. The author describes Merlyn’s dreams as he has observed them.
Here are a few words from the dreamer himself. “This is Merlyn, a Scotsman by some accounts and a Welshman by others. I like to say I was a man of the Isles. The stories about me are legendary and thus fully open to suspect. When I was about two and running for a living, I grew tired and fell asleep in the hollow of a large forked Oak tree.
When I awoke, a red fox pup was staring at me from outside the tree. I held out my hand and he licked it. I was conscious that I was as a fox pup. A year or so later an uncle told me the story of Romulus and Remus and how they were inadvertently raised by a she wolf named Silvia thinking the wolf was the twin’s natural mother.
I saw the fox pup from time to time, and when she and I were both older, I called her Silvia. She stayed wild but if I brought her food she was stay and eat it contentedly. She even let me pet her from time to time but she did not fully trust me. That was the first lesson Silvia taught me, do not fully trust fellow human beings including one’s self. It was one of the most valuable lessons I ever learned.
Being dead, I have had time to think the dreams out and put them in order. It was simple enough to see the thoughts I brought along with me. Crusty old Captain Leo Lamar seemed an easy enough way to make contact with Richard in the present. I could have made myself Charon crossing the river Acheron, but people don’t know the Latin stories like they used to. If you whisper in someone’s ear, “This is old Merlyn back from the Dead,” you may think you are out of your mind. I was a wizard’s apprentice long enough to know that. You are not out of your mind; you are in my mind while you are reading the dreams. I am the root of the connection because I am the dreamer. If there be madness here, you pluck it out.
People say, “Merlyn, you had your dreams, what do they mean?” No one says, “What is the purpose of your dream?” You read my braided dreams, and you dance with them however you like.
Surviving life is a gratifying experience. Only the Dead can fully appreciate the humor of it. When alone, you do not see yourself as you truly are. You need to share your humanity with fellow humans. Think what you will. Free will exists among the Dead, otherwise, how else could you be dead and still remain human?
Sharing and privacy are very important to the Dead. This is where Free Will comes into place. Being humanly alive is partially an art form and so is being humanly dead. Trancephysics is dreaming and being awake and conscious at the same moment, a lucid dream set in a lucid dream set in a deeper reality of the present. Which of the two do you think you are going to bring with you when you are dead, knowledge or understanding? You don’t need to be one of the Dead to have an understanding.
If you see humor in your life as I did in mine, you already recognize a major aspect of what it is to be human. I still see humor in my own death. It makes the continuing transition easier.
Braid my three dreams in your own way. The braiding is one of several paths to reading my mind. You are welcome to harvest what you will, but the dreams are my own, just as your dreams remain yours. If you think your dreams die with you, ask one of your descendants. In this fiction, Richard is one of mine.
Merlyn of the Old Isles
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Enough for tonight, boy. Post. – Amorella
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