When I saw these young girls of Tunisia poised at the top of a grand staircase, I thought they represented the nine Muses. Now I believe they are young Lady Liberties with radiating crowns. Tunisia is a democracy. The seed of Freedom planted by my great grandfather, has taken root. These freedom loving people are not going to allow ISIS to close their show.
Note the Beauty Queen in her long red robe. Here is the ‘Rose of the World’. There is a young man in a black cape. I am reminded of the Phantom of the Opera. There is Louis de Bourbon, the Grand Conde, ascending the great stairs to kneel before the Sun King of France. The enemy has been defeated.
“The most famous mosaic in the museum is one representing the famous Roman poet, Virgil. In the mosaic, Virgil is seated and holding a volume on which is written the 8th verse of the Aeneid. On either side stands the two muses: Clio, the muse of history, and Melpomene, the muse of tragedy.”
I had a dream last night that I was being honored as a historian. Alas I have overcome my rebellious muses who would settle for nothing – but the best! Rena is the most tragic woman in the world, once a great beauty, she is now self-exiled to the Tower of Poetry, where not even Virgil can go. She is the Mistress of the Mask, the Melodious One of the Opera. She is our National Anthem, the Keeper of the Flame, the Beacon that sent the Spirit of America’s Great Poets, to sea………..in ships!
Melpomene (/mɛlˈpɒmɨniː/; Greek: Μελπομένη; “to sing” or “the one that is melodious”), initially the Muse of Singing, she then became the Muse of Tragedy, for which she is best known now. Her name was derived from the Greek verb melpô or melpomai meaning “to celebrate with dance and song.” She is often represented with a tragic mask and wearing the cothurnus, boots traditionally worn by tragic actors. Often, she also holds a knife or club in one hand and the tragic mask in the other.
Melpomene is the daughter of Zeus and Mnemosyne. Her sisters include Calliope (muse of epic poetry), Clio (muse of history), Euterpe (muse of lyrical poetry), Terpsichore (muse of dancing), Erato (muse of erotic poetry), Thalia (muse of comedy), Polyhymnia (muse of hymns), and Urania (muse of astronomy).
In 1804, the former Consul to Tunis, William Eaton, returned to the Mediterranean with the title of Naval Agent to the Barbary States. Eaton had been granted permission from the United States government to back the claim of Hamet Karamanli. Hamet Karamanli was the rightful heir to the throne of Tripoli and had been deposed by his brother Yussif Karamanli. Upon his return to the area, Eaton sought out Hamet Karamanli who was in exile in Egypt. Upon locating him, Eaton made a proposal to reinstate him on the throne. The exile agreed to Eaton’s plan.
Commodore Samuel Barron, the new naval commander in the Mediterranean, provided Eaton with naval support from the USS Nautilus, the USS Hornet and the USS Argus. The three vessels were to provide offshore bombardment support. The Nautilus was commanded by Oliver Hazard Perry, the Hornet was commanded by Samuel Evans, and the Argus was commanded by Isaac Hull.
A detachment of U.S. Marines was given to Eaton under the command of First Lieutenant Presley O’Bannon. Eaton and Hull made their base of operations at Alexandria, Egypt. There, with the help of Hamet Karamanli, they recruited about 500 Arab and Greek mercenaries. Eaton named himself general and commander-in-chief of the combined force.
Rena Easton now led me from the art department to Morrill Hall where once was housed the artwork belonging to the University of Nebraska. Rena pulled me upstairs to the second floor, then like a couple dancing – she released me with a flair onto the wood floor!
My beloved muse now began her dance. With her long cape flowing after her she came to stand before a painting on the wall that she appeared to be holding up with two hands for me to behold.
“This is one of my favorite works!” Rena declared, and then gave me the title of the painting, and the name of the artist! Then, with a skip and a twirl across the dance floor, she stood before another work.
“This is__ ___I like this work because of the ______!”
Rena now ran to the opposite wall, did a turn and framed her next choice. I am blown away! I am looking at the most beautiful woman in the world in a green velvet cape give me a tour of the artwork in her town. She has prepared this private showing, for me. There is no one in the gallery – but us! On Saturday morning in Lincoln, all good Cornhuskers are worhipping their beloved football team. The Artist and Muse have the whole place – to ourselves!
I can not begin to describe how honored I felt. This young seventeen year old, got it! Rena – got me, and now understood what I was about, what we were about since we made eye contact on Venice Beach.
“Who are you?”
“I am your beloved Muse.”
“Why have we come together?”
“We seek the Holy Grail.’
In large part, Roza Mira is a spiritual cosmography, a description of the domains human souls occupy after death or between incarnations—domains resembling, to greater or lesser degrees, the heavens, hells, purgatories, and netherworlds of various religions and mythological systems. As such, it can be compared to works like the Bardo Thodol or Tibetan Book of the Dead, and the Divine Comedy of Dante Alighieri (as well as modern expressions of the same visionary tradition,
Roza Mira (full title in Russian: Роза Мира. Метафилософия истории, literally The Rose of the World. The Metaphilosophy of History) is the title of the main book by Russian mystic Daniil Andreev. It is also the name of the predicted new universal religion, to emerge and unite all people of the world before the advent of the Antichrist, described by Andreev in his book. This new interreligion, as he calls it, should unite the existing religions “like a flower unites its petals”, Andreev wrote. According to Roza Mira, there are no contradictions between different religions, because they tell about different aspects of spiritual reality, or about the same things in different words.
I have endeavored to provide a glimpse of the Rose of the World’s perspective on the scientific and Scientific modes of inquiry, on individuals’ rights and obligations, on human creativity and labor, and on the two basic types of spiritual paths: the Wide and the Narrow. In order to complete this overview of its perspective on culture, it would be sensible to dwell on the Rose of the World’s views on art, in the broader sense of the word. But that subject is so important and touches on so many different levels, and is so close to my heart personally, that I have decided to devote a series of chapters to it in one of the later parts of the book. Therefore, before moving on to the question of the Rose of the World’s perspective on other religions, I will jot down just a few words about art in the approaching era.
What features might distinguish the art to be created by people who have embraced the spirit of the Rose of the World in the near future, when the sun of the golden age will have only Just begun to illumine the clouds on the horizon?
It would be naive to try to predict or summarize the variety of artistic trends, genres, schools, and styles with which that sphere of culture will scintillate toward the end of this century. But a certain dominant style will, I think, emerge. Of course, it will not exhaust all the different artistic movements (under the conditions of maximum freedom that would be impossible as well as unnecessary for the same reason). This style is destined to become the mainstream in art and literature in the last third of this century. The perception of reality intrinsic to the Rose of the World— transparent perception, which distinguishes variomaterial or spiritual planes through the physical plane—will find expression in that style. Such a perception of reality will be a far cry from a studied optimism that is afraid to shatter its own peace of mind in heeding the dark and tragic sides of existence. Creators of that style will not seek to ignore the distressing and frightening underside of the world.
They will consider it cowardly to desire to forget about the bloody path of history; about the reality of the dreadful infraphysical planes of Shadanakar; about their merciless laws, which bind untold hosts of unfortunates in chains of inhuman torments; and about the ghastly fall that is being readied for the human spirit by the forces of the Antigod and that will almost certainly take place when the golden age has run its course. But a higher level of awareness will not tarnish their love for the world, it will not lessen the joy they receive from nature, culture, creative work, public service, love, and friendship. In fact, quite the contrary! Could the awareness of hidden dangers threatening the one you love ever extinguish the flame of that love? There will be wondrous, life-affirming works of unprecedented purity and joyfulness. There will appear in all the artistic genres—both those that already exist and those that will arise later—works that will sparkle like splashes of water on sunlit ponds, works by artists of the future about a love that is much more capacious than ours, works about youth, about the joys of family life and public service, about the broadening of human consciousness and the expansion of the frontiers of our perception, about friendship between people and elementals, about the daily proximity of the friends of our heart who are as yet unseen, as well as much more that will concern the people of those times and that we are incapable of imagining.
It seems to me that such a style—masculine in its fearlessness and feminine in its lovingness, a profound combination of joy and affection for people and the world, yet with a keen awareness of the world’s darker depths—could be called either transparent realism or metarealism. And need I mention that a work of art will not necessarily have to be an example of transparent realism for people who have embraced the Rose of the World’s spirit to be able to enjoy and delight in it? They will delight in everything that has the mark of talent and at least one of the following features: a sense of beauty, broad scope, profundity of thought, sharpness of insight, purity of heart, or a joyful spirit.
There will come a time when the moral and aesthetic level of society, and of artists themselves, will be such that the need for restrictions of any kind will disappear, and freedom of artistic, literary, philosophical, and scientific forms of expression will be absolute. But it will not be until several decades after the Rose of the World has assumed moral supervision over the states that the era of that ideal moral level arrives. It is not through wisdom but youthful naivete that one could arrive at the idea that society has already reached those heights of maturity when absolute freedom will not give rise to critical, irreparable abuses.
At first it will be necessary to assign to local branches of the Global Artistic Council, besides more pleasant duties, that single checkpoint through which an artistic work will have to pass before its public unveiling. That will be, if you will, the censor’s swan song. In the beginning, when national antagonisms and racial-prejudice will have not yet been eliminated, and powerhungry organizations will continue to play on those prejudices, a ban will have to be laid on any form of hate propaganda against any segment of the populace. Censorship will be maintained longer over books and texts that popularize scientific and philosophical ideas that give inadequate, superficial, or distorted treatment to objective facts and thus lead uninformed readers astray. Censorship will persist over works of fiction, requiring from them, it seems to me, a minimum of artistic merit in order to protect the literary market from a flood of tasteless, aesthetically ignorant trash. Finally, an unconditional ban on pornography will likely be in place longest of all. With the removal of each of these restrictions another measure will take its place: the Global Artistic Council or the Global Scientific Council will, after the release of a work of poor quality, print an authoritative review of it. That will suffice.
Clearly, it will not be easy to devise a system to determine who will sit on such councils, a system that will ensure that people with party or conceptual biases, intolerant supporters of particular movements or philosophical schools, or champions of the creative interests of some single group, nation, or generation not interfere in any sphere of culture. I would think, however, that in the psychological atmosphere of the Rose of the World a system like that could be devised.
If, for the moment, we avoid entering into fine distinctions between the concepts of culture and civilization, we may say that culture is nothing other than the sum total of humanity’s creative work. If creative work is the highest, most precious, and sanctified of human gifts, an expression of the human soul’s divine prerogative, then there is not, nor can there be, anything more precious or sanctified than culture. Further, the more spiritual a given cultural level, a given cultural sphere, or a given creative work might be, the more valuable it is as well.
The culture of a united humanity is only now emerging. Until now the only cultures to reach individual maturity have been those of individual suprapeoples, a suprapeople being a group of nations that are bound by a distinct, jointly created culture. But none of these cultures is confined to that aspect that exists and evolves within our three-dimensional space. Those who participated in the building of that culture here continue their creative work in the afterlife as well, though the work is, of course, altered in accordance with the conditions of that world or those worlds through which the soul of the human creator is passing at the time. An awareness is growing of million-strong communities of such souls, of heavenly lands and cities above each of the world’s suprapeoples, and of Arimoya, the emerging heavenly land of the culture of a united humanity. A perspective on culture based on such principles is new and startling. We would be right in even noting that with further crystallization and deepening it will grow to become a vast mythology, if in using the word “myth” we disaccustom ourselves from thinking of something that has no basis in reality. Here we are dealing with just the opposite: a colossal reality that is reflected hazily and superficially, but reflected all the same, in mythology.
The atmosphere established by the Rose of the World and its teachings will give rise to conditions necessary for that cultural mythology to be grasped by every mind. Even if only a limited number of minds are able to comprehend it in all its esoteric complexity, the spirit of the worldview, and not its letter, will gradually become accessible to almost everyone. And if we contemplate the prospect of instilling that worldview in the general populace, then devising a system of measures to safeguard all spheres of culture from interference by people who have no inner right to manage those spheres will cease to appear a hopeless task.