Nooooh!...I forgot to block my thoughts again!....
My two hosts were giggling like children.
'My dear Jordan,' Solari assured me, 'you mustn't be concerned about our picking up your thoughts. Please. We feel honoured and privileged to get to know you so intimately! If I may just comment on what you were thinking...'
'Oh yes, Please! Please do!'
Oops, I spoke aloud.
'Your people may not understand what you tell them about Lemuria but their minds, or the minds of their descendants, will become more open in the fullness of time. That is how it works in your history. In ours too, by the way! When the fruit is ripe, it will drop without effort from the branch. You should not be upset if their minds are still closed. Everything in its own time.'
'My apologies for implying that you may have blocked my phone!'
'Not at all, my dear!' laughed Solari. 'As for the phone, I am afraid the technology is a little out of date for us to have it recharged. We could enquire here, in the museum, if you wish, but we would not be confident of a prompt response.'
'No, no, not at all! You're too kind. No, really, it doesn't matter! Thank you! But please, do continue with the tour, will you?'
'You and I, Jordan, all of us, we all started in a different star system to match the energy vibration of our soul, as we are all part of a soul group of origination. So we have a greater affinity with one star system than another. That knowledge is available in our DNA. And, of course, we are all connected to source energy by a Golden Thread.'
She told me that the Lemurians had originally come from a planet in the Sirius constellation. Here in this virtual, highly condensed exhibition of their history I was witnessing, ethereal figures were walking towards the water, sinking into the lake and being transformed into dolphins! Solari explained that in this way, they had brought the light into the physical.
As they emerged from the lake onto the shore, the creatures had the head of a dolphin, but the body, hands and feet of a human being! This, said Xendo, was how the stories of mermaids and mermen in world mythologies originated.
'One day,' said Solari, 'all people will eventually learn how to return to the light. From those early days, we could see and read our chakras and auras. The possibility of living on Earth without a fully visible auric field and chakra system was unthinkable. How would we ever get on with one another? How would we even survive? We cannot imagine how you Atlanteans can get through a single day without it! Having the skills to read the chakras and auric colours meant we could know the state of mind, as well as the emotional state, of the other person immediately. As well as that, we cultivated the most efficient form of communication on the planet, telepathy. We thus overcame all those stress-inducing limitations of language.'
'But aren't we using language now, albeit not with sound?'
'With you, yes, but when we normally communicate telepathically, no language interference is required.'
'Haha! Interference, you call it. Back home we believe it's language alone that separates us from the lower species of the planet. I mean from the other species of the planet.'
'In terms of communication effectiveness amongst the species of the planet, the human species in Atlantis finds itself in the lower twenty per cent category.'
'So, eighty-per cent of all the other species on the planet communicate better than we do! That's an eye-opener!'
'Language' said Solari, 'is abstract, ambiguous, vague. You have coined all these words for your world and compiled them into dictionaries in hundreds of different languages with millions of different words, artificial definitions which you are forced to agree on in your own languages when you are at school. Words are but symbols of symbols, pale, threadbare, worn-out symbols that do not even get close to describing the living force of a dynamic environment in which everything changes from second to second.'
'But how would we have a society without language? Trade, politics, law?'
'Language adds more to the problem than the solution. Language is subject to manipulation. It is used and abused to seduce, deceive and coerce. In Atlantis, your politics, your advertising and marketing industry, your whole society is reflective of how ambivalent, inadequate and equivocal language can be as a means of communication. In law enforcement, obscure and archaic language is used by lawyers to subjugate and intimidate both the innocent and the guilty, most of whom are unfamiliar with its pretentious, manipulative vocabulary which portrays itself as just, accurate and effective. We see this primitive relationship of accuser and accused in your courts as another example of how the trappings of so-called education is cruelly used as a weapon of class distinction and control. Here in Lemuria, our ancient spoken language is now used only in song, as mantra or sutra, mainly in the Temples.'
'But literature, for example, how can you say that literature is inadequate or even worthless, as I think you may be suggesting? I mean, if you reject the gift of language, you dismiss its literature too, don't you? Surely art ennobles us, edifies us, separates and defines us as humans. Does it not?'
'The goal of art,' Xendo interjected, smiling at Solari, 'if I may answer Jordan's question, the goal of art is to transcend itself through expression. That should also be the goal of language. Only when you transcend what you call art, only then do you realise how worthless art is, Jordan. The only reason you find literature of any value is that you think you need it. We don't need literature in Lemuria. We don't need art of any kind. When need pollutes love, there is no love. Love has no need. Similarly, there should be no need for art. Do our friends, Nature's guests, need art? They live in the present moment. Art is reflective, interpretative, ego-driven; it leans into an artificial future. It depends on it. Even the most spontaneous art does not live in the moment. You say it is creative. And so it is. As it is for a child with a crayon. But who dares frame a child's work of art and hang it in a gallery? What is the adult truly creating? Why? What good is it? How is it good? How truly meaningful is it really in your life? How meaningful is art in the lives of the majority of people in Atlantis? When they encounter what you call art, visual, aural, performance-based or language-based art, what is it they experience? Does it really edify the consumer? And if it does, how? Or is it merely another form of consumerism and affectation, elevated conversation to improve one's image or the expectations of education or society? Do your people ever ask these questions before they open a book, enter a gallery or go to the opera dressed to the nines? Life, our lives, the ever-changing events in the ever-present moment of our lives is our art, not your self-centred, pretentious interpretations and limp, lifeless representations of life.'
