超越想象的沟通——鲁曼尼亚文明（四）

此段摘自《灵魂永生》第十五章 

转世文明和可能性，再谈多维神祇

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消失的文明与你——鲁曼尼亚文明（一）

予能量以自由——鲁曼尼亚文明（二）

灿烂的地下天堂——鲁曼尼亚文明（三）

在讨论第三个文明之前，我还想对第二个文明——鲁曼尼亚文明再补充几点。

这涉及到他们用图画来传递信息，以及这种创造性的通讯所采用的专门途径。在许多方面他们的艺术比你们的高超许多，而且并不彼此孤立。比如说，他们把各种不同的艺术形式以一种你们几乎毫无所知的方式结合起来，由于你们对这概念如此陌生，因此我很难加以解释。

举个简单的例子，好比说一幅动物素描。对你们来说它只是一个视觉上的物体，但鲁曼尼亚人却是伟大的合成者。一条线不只是视觉上的线条，而是同时代表了某些声音，根据几乎无数种的区分方法，这些声音能被无意识地转译出来。

如果愿意，观看者可以在费心浏览视觉图象之前，就先自动翻译出声音。那么，一幅看似仅为动物素描的图画，也可以提供这种动物的整个历史和背景。曲线、角度和线条，除了在一幅绘画中起到的明显的客观作用之外，还代表了音高、音色与音值等一系列非常复杂的变化；或者，如果你喜欢的话，可以说代表了无形的文字。

线条之间的距离被转译成声音的停顿，有时也被译成时间的间隔。鲁曼尼亚人在图画中运用色彩，就像你们在沟通中运用语言一样，色彩代表了情感的层次变化，这一点和你们多少相似。不过，色彩的强度被用来做进一步的完善和定义——比如，加强线、角、曲度已客观表达的信息，加强无形文字已诠释的信息，或者以任意多种方式对这些加以修饰。

这种画的尺寸也传达着自己的信息。从某种意义上说，这是一种高度程式化的艺术，但就“细节”而言，它使极为精确的表达成为可能，就“题材”来说，它又容许了极大的自由。很显然，它是极度浓缩的。这项技术后来被第三个文明发现，有些模仿品的遗迹仍然存留。但诠释之钥已完全遗失，因此所有你们能看到的只是一幅画，而赋予图画无穷变化的多重感官因素却完全丧失了。它存在，但你们无法令它复活。

也许我应在此提及，有些山洞，尤其是西班牙和比利牛斯山的某些地区，以及更早的一些非洲山洞，都是人工建造的。如我先前所说，鲁曼尼亚人能用声音来搬动大型物体。实际上，通过对声音的高度控制来运送物体，是他们的地道最初形成的方法，也是他们在山洞很少的地区增建山洞的方法。通常，洞壁上的绘画传达的都是非常格式化的信息，就像你们公共建筑前的标记，描绘的是某一特定区域内动物和生物的类型。

你们历史上所谓的早期穴居人，后来把这些画当作临摹的范本。

鲁曼尼亚人传递信息的能力，因而也就是他们的创造能力，要比你们更有活力、更有生气、反应更积极迅速。当你们听见一个词语时，也许在心中感知到一个相应的形象。但是对鲁曼尼亚人来说，声音即刻自动地制造出一个惊艳如生的图像。它是内在化的，并非三维立体，但真的比你们通常想象的要生动多了。

此外，某些声音被用来表示时空中的物体在尺寸、形状、方向与持久性上惊人的微细差别。也就是说，声音自动产生灿烂的影象。基于这个原因，他们很容易分辨所谓的内心景象与外在景象，因此当他们坐着谈天时，常常很自然地闭上双眼以便更清楚地沟通，一边享受着语言交流带来的瞬息万变的即时心象。

他们学东西很快，而教育是个很令人兴奋的过程，因为这种多重感官的天赋能自动把信息印在他们心上，不是一次只通过一种感官通道，而是同时使用许多种。但是，尽管他们拥有这些长处，拥有直观性的感知，他们却有一个与生俱来的弱点：不能面对暴力并学会破除暴力，这也无疑严重阻碍了他们向外的冲劲和魄力。能量在这些领域被阻断，因此他们确实缺乏一种有力的品质或力量感。

这并不一定指肉体上的力量，但他们使用了如此多的精力去避免面对暴力，以至于无法把正常的攻击性情绪引导到其他领域去。

Before we discuss the third civilization, there are a few more points I would like to make about the second one.

This has to do with communication as it was applied to their drawings and paintings, and to the highly discriminating channels that their creative communications could take. In many ways their art was highly superior to your own, and not as isolated.The various art forms, for example, were connected in a fashion that is nearly unknown to you, and because you are so unfamiliar with the concept, it will be rather difficult to explain.

Consider, for example, something very simple - say a drawing of an animal. You would perceive it simply as a visual object, but these people were great synthesizers. A line was not simply a visual line, but according to an almost infinite variety of distinctions and divisions, it would also represent certain sounds that would be automatically translated.

An observer could automatically translate the sounds before he bothered with the visual image, if he wanted to. In what would appear to be a drawing of an animal, then, the entire history or background of the animal might also be given. Curves, angles, lines all represented, beside their obvious objective function in a drawing, a highly complicated series of variations in pitch, tone and value; or if you prefer, invisible words.

Distances between lines were translated as sound pauses, and sometimes also as distances in time. Color was used in terms of language in communication, in drawings and paintings; representing somewhat as your own color does, emotional gradations.The color however, its value of intensity, served to further refine and define - for example, either by reinforcing the message already given by the objective value of the lines, angles, and curves, and by the invisible word messages already explained; or by modifying these in any given number of ways.

The size of such drawings also spoke its own message. In one way this was a highly stylized art, and yet it allowed for both great preciseness of expression in terms of detail, and great freedom in terms of scope. It was obviously highly compressed. This technique was later discovered by the third civilization, and some of the remnants of drawings done in imitation of it still exist. But the keys to interpretation have been completely lost, so all you could see would be a drawing devoid of the multisensual elements that gave it such great variety. It exists, but you could not bring it alive.

I should perhaps mention here that some of the caves, particularly in certain areas of Spain and the Pyrenees, and some earlier ones in Africa, were artificial constructions.Now these people moved mass with sound, and, as I told you earlier, actually conveyed matter through a high mastery of sound. This is how their tunnels were originally formed, and it was also the method used to form some of the caves in areas where originally there were few. Often drawings on the cave walls were highly stylized information, almost like signs in your terms in front of public buildings, portraying the type of animals and beings in a given area.

These drawings later were used as models by your early cavemen in the historical times to which you usually refer.

Their communicative abilities, and therefore creative abilities, were more vital, alive, and responsive than yours are. When you hear a word you may be aware of a corresponding image in your mind. With these people, however, sounds automatically and instantly built up an amazingly vivid image that was not three-dimensional by any means, being internalized, but was far more vivid than your usual mental images indeed.

Certain sounds, again, were utilized to indicate amazing distinctions in terms of size, shape, direction, and duration both in space and time. Sounds automatically produced brilliant images, in other words. For this reason there was an easy distinction between what was called inner sight and outer sight, and it was quite natural for them to close their eyes when seated in conversation in order to communicate more clearly, enjoying the ever-changing and immediate inner images that accompanied any verbal interchange.

They learned quickly, and education was an exciting process, because this multisensuous facility automatically impressed information upon them not simply through one sense channel at a time but utilizing many simultaneously. For all this, however, and the immediacy of their perceptions, there was an inherent weakness. The inability to face up to violence and learn to conquer it meant, of course, that they also severely hampered a certain thrusting-out characteristic. Energy was blocked in these areas so that they actually lacked a forceful quality or sense of power.

I do not necessarily mean physical power however, but so much of their energy was used to avoid any meeting with violence that they were not able to channel ordinary aggressive feelings, for example, into other areas.

《赛斯说●第118期》

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