musicians of old

Chapter 940 Praising the Eternal Feminine (Part 1)
“Ting”

The key makes a clear, understandable sound, and an indescribable echo of gushing and dissipating.

From "1" to "0" and then to "-1", they surprisingly disappeared into the positions of the principal cello, violin, and flute sections, respectively.

Using the word "submerged" to describe it is illogical, because there is nothing or anything existing above the position or below the line of sight.

But those three keys just disappeared.

A body seemed to freeze briefly, and trembled for a moment as the key was inserted.

Then, a "void" triangle, devoid of any color or texture, connecting their locations, flashed by.

It also roughly marks the "left, right, and rear" positions of the orchestra.

“The three are light, the three are night, the three are not counted.”

Slightly above, another slightly different triangle appears, flashing by in an instant. This pattern of flashing lights continues, increasing in intensity, until it reaches the top of the dome.

The "looking up" vocal pattern in the so-called "final" aria was smoothed and softened by Fan Ning.

All that could be heard were many instruments playing softly in the high register.

“‘Our Lady of Glory’ is certainly not a ‘pillar’.” Fanning closed his eyes, muttering to himself, still trying his best to ponder or feel, “Of course not, it is the highest truth, transcending the mundane, and on the same level as the witness, but it is still not the ultimate. I understand, I am understanding.”

He provided the lift beneath the dome, which, along with the boundless earth transformed from the "fire of martyrdom," prevented the seed of this new world from falling into the abyss of collapse, but that was not the final journey.

That wasn't the final aria; now it is. And what will it lead to?
Fanning is beginning to understand the true meaning of all this.

In the chorus seats that surrounded the masters, the symbols at the end of the scores they held were slowly erased.

The bar lines begin to extend, and the new expressive term "mystery of mystery" emerges, indicating that the voices of the priests, angels, converts and penitents, as well as the Ascended children and the "Worshippers of Mary" will begin to sing slowly.

"All things are but fleeting moments, nothing more than reflections."

The singing was deep and pervasive, like mist rising from the abyss of time.

Each voice emerges and overlaps in turn, carrying with it a vastness and tranquility that sees through all illusions.

"What is this? Fanning! What does this mean!?"

"My key!? Fanning, what have you done! No. The key is nothing, Fanning! Tell me what you wrote!? What principle is this? What does it mean? What phase of knowledge is this!?"

The dangerous individuals outside a certain stained-glass window were directly captivated by this song.

This man kept repeating himself endlessly. Like several of the other pioneers, his most important pursuit was not self-promotion to witness to the Lord, but the great work of building "pillars" and constructing "paths." But now, he couldn't understand!

Why! This shouldn't be! Why! My divinity has indeed been severely depleted, and I've been subtly bound by a shackle I don't yet fully understand! But what does this have to do with "not being able to understand music"!?!?

Under these circumstances, the "loss of contact" of the Key of Time became secondary. He now only wanted to figure out why! Why, after the development of music, such texts appeared, what secret knowledge these texts contained, and how they functioned!
"It's just basic knowledge of mysticism and philosophy. Haven't you learned about it?"

"Forget it, if you don't understand, then forget it."

Fanning shook her head with her eyes closed, her fingers lightly plucking the strings of the "Illyrian," not playing any part, but simply producing a clear, single note that resonated with the choir, like the beginning of all things.

Ah, in fact, Goethe wrote at the end of the first act of "Faust," "The Pleasant Place," that "we perceive life through the refraction of seven colors."

The unknowable "radiance" collapses into phases observed from various angles. What is there to elaborate on in the implicit knowledge known from the first encounter with the mysterious gate? As a world where appearance and will coexist, everything that happens is nothing more than a reflection of the enduring essence.

"All things are but fleeting moments, nothing more than reflections."

A mysterious chorus slowly surged forth, the church still stagnating in its floating and sinking state. Let's just say it was a moment of "floating" when the smooth, transcendent feeling of touching the "Door Gate" returned once again.

But as Fanning strummed the guitar, the surfaces of those objects, which were "curled up" like mirrors or glass, suddenly reflected countless light and shadows—not projections from the outside world, but images of memories and possibilities arising from within.

Professor Anton, who shot himself in the villa; Caplun, who fell like a towering tree; Luna and Ann's smiles frozen in the moment their dreams dissipated; Nancy, who fell to the ground after being shot in the chest with a steel nail; Ruoyi, who said goodbye to Fanning and jumped into the glacier; Joan, who vanished like a bubble during her escape in the daytime; and the three chief ladies who were annihilated by that desperate blade of light.

The intense emotions of the past still lingered in Fan Ning's heart. He did not force himself to observe or recall these images in any particular way. He did not even open his eyes; he was quietly smiling.

"Everything is inadequate until this point," the congregation in the chorus further pushed the truth into the realm of revelation.

I understand, I understand.
Fan Ning felt his pulse pounding.

He had loved specific people: confidantes, dedicated colleagues, devout followers, and innocent children. He had cherished specific emotions: playing music under the night sky and evening breeze, the candlelight of the brightest summer manor, the figure looking back on the rugged snow-covered mountain path. In the midday sun, the imagery of the swing even led the confined space-time to a more intimate and unrestrained moment on the beach. These were the sources of his artistic creation and the anchors of his wanderings, the "share" he earned through his toil under the sun. But that "insufficiency," whether it is one, two, three, or even exceeding "a thousand people" like the current chorus seats, is still "insufficient."

Therefore, the "Originalism" faction is wrong, and the "Snake Faction" faction is also wrong.

Both the statement "the three are light" and "the three are night" are wrong!

The true "pillar of the trinity," the so-called three keys "in chronological order," are not essentially about the "three" but about "not counting"!
Whether the "pillars" of the triangle can support the construction of the "path" depends on "not caring"!
If any reader or student in later generations only focuses on the "three" and contemplates their meanings without understanding what "not counting" means, then he will be misled, remain ignorant, and still fail to understand that "love never fails."

Even the Lord who bears witness only governs one or a few aspects.

In the brief span of a human life, it is impossible for any single year of life, including the "noon" period, to perfect one's essence or complete one's moral responsibility.

Impossible.