Part of the Casswiki article series Cassiopaean Experiment
In Silmarillion, Tolkien’s creation myth tells the story of a world that was conceived in music. In this tale, titled “Ainulindale”, Illuvatar’s (God) first act was to create the entities called Ainur to make musical harmonies together. Melkor was one of the most gifted amongst the Ainur, but he also had a greater share of arrogance and pride. Soon he began to sing outside the themes of Illuvatar, weaving his own discordant tunes into Illuvatar’s original theme. Turmoil ensued, and the harmonies of the Ainur were interrupted. Some among them began to tune their melody to that of Melkor, others fell silent and confused, while others yet stayed true to the original melody.
Then Illuvatar intervened and soon there were two tunes competing for dominance. Of these tunes, Tolkien writes:
“And it seemed at last that there were two musics progressing at one time before the seat of Iluvatar, and they were utterly at variance. The one was deep and wide and beautiful, but slow and blended with an immeasurable sorrow, from which its beauty chiefly came. The other had now achieved a unity of its own; but it was loud, and vain, and endlessly repeated; and it had little harmony, but rather a clamorous unison as of many trumpets braying upon a few notes. And it essayed to drown the other music by the violence of its voice, but it seemed that its most triumphant notes were taken by the other and woven into its own solemn pattern.”
This contest between the musics of Melkor and Iluvatar continued until finally Iluvatar ends it in one loud chord. He then takes the Ainur to show them the meaning of the music they had just heard. What he shows them is Earth and he declares: “Behold your music!”
According to the creation myth of Tolkien, the world is a manifestation of the harmony and discord competing for dominance.
One can draw certain parallels between Tolkien’s story of Ainulindale and the Cassiopaeans material. First and foremost, they both contain the idea that creation emanates downwards, and that this realm is the product of the “thought” of higher realms.
Secondly, there is the notion of two distinct and opposing forces battling for expression. Readers of the Cassiopaeans and Ra material will know these forces as STO and STS. Lastly there is the notion of macrocosmic dramas on higher plains translating into the microcosm of life on 3D Earth. In other words, like with the Ainur, it is up to mankind to choose between being in tune with either of the two forces, Iluvatar or Melkor, STO or STS.
In one transcript the following quote is found:
“Frequency envelopes are realms, however they are “in concert,” which implies a degree of scripting at some level. Some members of the orchestra do not play well. Some do not play in tune. Some are out of synch. Others expect the one next to them to play their part.”
And then later:
Q: (R) We are on a very, very interesting path here because we just defined what density is. It’s a frequency resonance envelope. (A) The question is frequency of what?
A: Yes, of those in the orchestra. -
Q: (L) So it is by agreement. To be in the orchestra, frequency resonance envelope. (B) Not only to be, but to play within those parameters. (L) Who gets to pick what gets played?
A: Ah! There’s the rub! You don’t get to pick the selection at this level. But you in the future does. The question is: How well do you play, and can you play true if the others don’t?
That last sentence is very similar to Tolkien’s story, and it is here that the Metaphor of the Orchestra comes in. The C’s indicated in the excerpt above that there is a certain “selection”/music played at higher levels that one can align oneself with in 3D. The task of the 3D “orchestra” then, is to “play true” to the selection one chooses to align oneself with.
How does one play well in an orchestra? First of all, one must be able to read the notes. In other words, one must study and gain knowledge of the score. Once the piece of music is understood one has a choice, one can either choose to play or find a different orchestra with a different score. This is an emotional choice, either a tune appeals or it does not. If one chooses to play the score, then the work has begun. Secondly, one must have an instrument that is working and is tuned. Here the instrument represents the self, and idea of functioning and being in tune is the alchemistic transformation and the point of 4th way Work. Thirdly, one must be a useful member of the orchestra by playing harmoniously.
The tune of STS/Melkor is the dominant in the world as it is, but one can make a choice to play a different tune, namely STO/Illuvatar. If one becomes able to play true, then the metaphor has it that the melody produced by the orchestra becomes resonant with that same tune played on higher densities. The players in the orchestra, in effect, become part of the Resonance Frequency Envelope of 4th density STO.