Dreamcatcher: Symphony of Being

Symphony of Being

It could be said, there is structure. That everything flows in an effervescent ebb and tide.
Those Rapids carry us on, the gurgling of the past only seeps to learn from mistakes.
A brain, only meant to learn, to adapt, to change.
Yet the world is the same, fully inclusive.
At the lowest level, the scale of material being,
atoms and cells, plant or animal, living on another level,
are the rhythms.
Yet unique is the masterpiece,
the evolution of the self, into something greater.
The transition into a wiser future, building off foundations,
expanding only through creativity, imagination; the only things we hold inimitable to ourselves,
We ride around the bends, sail around decisions, and we arrive.
At the destination of our ego; Truth, we search.
This is the level of dimensional reality.
We are the melodies.
Yet not the grandest scale.
Development, of things beyond perception,
giants of energy, of matter and compact creation, fireballs of vision. Supplication.
The ship of time, drifts on, and everything bursts, the echelon, swells, expands forever.
It isn't seen, by you or me, only felt, only experienced, the distortion and adjustment.
Of pressing on, to acknowledge your own spirit, parallel.
Together, this is the grandeur, the product of all creation.
It is the symphony.

This is a term which refers to that aspect of the symbolism of space
which is concerned with the simple moral pattern deriving from the notions of
height and—ultimately—of centre. Hindu doctrine describes the three fundamental states of the human spirit as sattva, which is ‘loftiness’ of spirit; rajas—
manifestation, struggle and dynamism; and tamas, or obscurity and brute instinct; and these three states are located on three vertical levels. Strictly speaking,
there are five zones or levels: the absolute low level and the absolute high level,
plus the central area divided into three zones merging into each other and at the same time bringing the outer extremes into progressive relationship. When the
baser levels concern not the intellectual but the moral—which is in essence infinitely more complex and mysterious—then the precise significance of the symbolism is not nearly so hard-and-fast. There is always the possibility of symbolic
Inversion, in which case the two opposing directions have something in common
in that both partake of the idea of depth. Hence the saying: ‘Deep calls to deep.’
The temptations endured by the chosen few find their counterpart in the abysses
of salvation which may be opened up for the reprobate. Dostoievski has spoken
eloquently about this. Finally, here is a quotation from L’Art chinois by M.
Paléologue, written in 1888: ‘Under the Chinese Chou dynasty (11th century
B.C.), the dead of the lower classes were buried in the plains; princes, on hills of
moderate height; and emperors in tombs built on a mountain-top. The head of the
corpse would be turned to face North.’ In virtually every work of art whose
composition is of an ideological rather than a naturalistic character, the verticalline locates the Three Worlds of the infernal, terrestrial (with its own, internal
orders—the marine, the animal and the human) and celestial. Thus, in the
Mesopotamian stele (or Kudurru), the illustrations are arranged on several levels,
divided off by lines to suggest their relative values: the most primitive beings are
placed at the lowest level (since they are closest to the ‘primordial monster’)
while astral bodies and symbols of the godhead are situated on the highest plane.
The same principles are true of Romanesque art.