Chronicles From The Future: The amazing story of Paul Amadeus Dienach

No discrimination existed between our men and theirs, from the beginning of the Eldere and onwards, neither in the position of the statues, nor in their dimensions, nor in anything else. The only thing that slightly changes is the interpretation of the “Source” of thought and inspiration of each of them because today there is no contradiction between the real and the ideal.

Everything that was referred to as “spiritual worlds and concepts” by past generations is now considered real. They claim that the source of all inspiration and all manifestations of the spirit in many different cultural fields from the beginning of time is one: “the unconscious thirst of the soul for the Samith and the pain caused by the lack of it”. The alleged conflict and opposition between real and ideal is basically nothing more than “the incredible contrast and distance between this earthly world that we live in and the Great Reality”. That is what causes both the holy pain of inspiration and that conflict.

If our people heard all that, they would secretly laugh at them, but they

are so proud of this “direct perception” they have of reality and the world, so proud of what they’ve seen and what they so firmly believe and support, that they wouldn’t even care…

The exhibits here are not classified based on the origin, school or era of their creators. All those significant figures come from the great motherland, earth, and belong to the great era, eternity, thus becoming immortal. You see Chopin not far from Tchaikovsky and Rachmaninoff, Goethe next to Hugo and Schiller in the same room as Alfred de Musset. As a matter of fact, a young unge, Lyla, told me a few days ago that a number of students, pilgrims from the neighbouring secondary school, the vilenthens, had put laurel wreaths and fresh flowers on their heads to honour them. I think about how many tears must have been shed by those great artists at the time of creation and how many tears they must have brought to their innumerable sensitive admirers and I can’t help but shiver. At least today they don’t consider poets crazy dreamers…

I have just realised how much noble suffering is incorporated in the worldly form of redemption called artistic creation. And when you see, hear or touch a true work of art, it is the closest you can get to seeing, hearing or touching the Great Reality; its memory grows stronger and so does the thirst and nostalgia for the Samith

that’s hidden within all of us. And it is happiness that causes this pain full of spiritual joy!

I remembered something that Lain used to repeat in his lectures: that with the passage of time, our species reached a stage of biological and spiritual development that gave us the privilege of pain! Man has become a “sensitive receptor”. All great artists, like Lamartine, Praxiteles, Lessing, Klopstock, Chateaubriand, Phidias, Ribera and Mendelssohn were some of those who saw the light in obscure times, when nobody else could see it. Compared to the average person of their times, they seemed to have had supernatural mental inclinations.

“The greater the artist, the more unsatisfied he is with his own work,” Lain once told me. “All artists know that art has no boundaries, no limits, no end.” If I’m not mistaken, Beethoven had said something similar long before Lain did. And, as I was informed, what they both meant was that what artists are trying to express cannot be conveyed either through pens, paintbrushes, chisels, or musical notes… Its essence cannot be captured by the human mind nor can it be rationally explained.

In one of his pieces on artists and Art itself, Tinersen says: “Like the fluttering of swallows on an iron-barred skylight of a prison, their purpose is to remind us that it is spring outside, the air is fragrant and the blooming valleys await us. We belong to the bright blue sky as much as it belongs to us.”

A while ago Stefan told me: “I wish that all these great men from the ancient times could join us here to experience this salvation, to experience the highest form of spiritual happiness.” The Roisvirch they call it here. And he said that because, according to Tinersen, “Nobody knew back then the answer to the question: ‘Why do we suffer?’” That’s the reason why all great artists couldn’t find happiness in the outside world. They were still unaware of “the reflections of the Samith”.

LATHARMI

At 6:00 p.m. I wandered through the city trying to find the statue of Valmandel. Last fall, I got the chance to listen to quite a few pieces from his oratorio Prayer Among the Stars’ Golden Spheres, in many of Lain’s classes. I knew from the Swage and from my autumn studies in Markfor that the statues of Jesus and Volky were more or less in the same location.