Eternal Infinite Intelligence! Eternal Infinite Energy, we, Thy children, desire to come into conscious relation with Thee. Unto Thee we offer our loving, reverent2 adoration3, and Thou wilt4 guide us in all our ways. Amen, amen.
George, for a little while, we will move slowly, so that madame may more clearly observe the scene below us. To physical vision the Earth's surface would appear somewhat depressed5, but to our spirit vision this illusion is not apparent. To mortals, at this altitude, the atmosphere would be too rarefied and too cold to be endurable, but, as you perceive, Spirits sufficiently6 evolved, are not subject to physical conditions. How deep is Earth's atmosphere? He who estimates the depth of the oxygenated portion of Earth's atmospheric7 envelope at ten English miles may safely add another half-mile, and the entire depth of Earth's atmosphere is so greatly in excess of what your scientists conceive it to be that on your account I a
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little hesitate to say that it runs into hundreds of miles, and through the activities of natural forces ever it is deepening. Yes, necessarily, all inhabited Planets possess oxygenated atmospheric envelopes, but you are not to confound atmosphere with ether, which fills all interstellar space, and is substance, but so refined as to be imperceptible to physical sense.
Upon all the planets of our solar system, our glowing, radiant Sun sheds its life-preserving beams. Its magnetic waves, pouring across space, quicken into activity latent energies, thus making progress in all directions not only possible, but inevitable9. Mars, being many millions of miles further away from the Sun than is our Planet necessarily it receives less direct solar heat. On the other hand, Mars' atmosphere is such as to both receive and retain an amount of solar heat sufficient to render its climatic conditions very favorable for its various life expressions, and being much older, and hence, in proportion to its bulk, far more magnetic than Earth, its density10, as compared with that of Earth, much less, its atmosphere rarer and lighter11, it follows that to a limited degree its climatic conditions vary from those of Earth. Still, as you will have opportunity to observe, the temperature of its different zones is not greatly unlike that of the various corresponding zones of our own Planet.
Yes, the panorama13 now below us is a reminder14 of many similar views on various portions of our far distant World, which, to our vision, now appears as a rather diminutive15, luminous16 sphere in immensity of space.
Certainly, madame, ask such questions as may occur to you, to which, as we slowly move onward17, I shall to the utmost of my ability reply.
No, the depth and quality of a Planet's atmosphere does not altogether depend upon the age of the Planet. With
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both its quantity and its qualities other factors are concerned. Were not this true, Mars' atmosphere, relatively18, would be deeper than that of Earth.
As a fact, the depth of Mars' oxygenated atmosphere is rather under half the depth of that of Earth. As to its qualities you already are informed. Yes, equability of temperature characterizes the various regions of Mars, only at the equator, and on either side for about seven hundred English miles, can the temperature be considered high, and even at the equator the heat is less torrid than in a corresponding latitude19 on our Planet. Disintegration20 and attrition have so worn away Mars' mountain ranges and other elevations22 that they offer slight diversions for its air currents. Through ethereal disturbances23 cyclonic24 storms occur, but at rare intervals25. A noticeable peculiarity26 of Mars' atmosphere, which later will attract your observation, is its extreme humidity, which ancient Mars spirits have told me increases as the Planet ages. Even the polar regions are under the influence of this exceptionally humid condition, and there, during the year, snow falls nearly continuously. As spring approaches, at the north pole vast accumulations of ice and snow begin to melt, and as the season advances, immense volumes of water threaten to inundate28 portions of the Planet. Against such a calamity29 wise provision has been made, but of this presently you will become better informed.
We near our destination, and now, gently descending30, we stand upon solid ground. Madame, we salute31 you, and welcome you to a land visited for the first time by a spirit yet embodied32 in the physical form. The energetic and adventurous33 American is a born pioneer, so it seems quite in keeping with your national tendency that you are here.
Medium—It may be quite in keeping with my nation
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ality to be adventurous, but I confess that at this moment I do not feel very courageous34.
De L'Ester—Fear not. Many times you shall come hither, returning to Earth safely. You wish to know on what portion of Mars we now are? I can only reply in this manner: Relatively we are in about the same latitude and longitude35 as is St. Louis. For purposes of comparison, and for the instruction not only of yourself, but of some who possibly may read these pages, we have decided36 that it will be well to afford you a glimpse of Mars' interior, so you will stand beside me while I shall endeavor to direct your spirit perception, and that you may more readily comprehend what I shall say I shall make use of such terms as our Earth scientists have established. In succession, the Azoic, the Silurian, the Devonian, the Carboniferous, the Reptilian37, the Mammalian, and the crowning Age of Man have carried Mars and Earth to their present states of evolution. As we perceive, the merging38 of one age into another was through such imperceptible degrees that it is not possible to note lines of demarcation, yet we easily can trace the wondrous39 vestiges40 of the passing ages up to the appearance of the evolved human animal man, of whom, at another time, I shall further inform you.
Yes, gold, silver, copper41, iron, tin, in short, all the minerals with which Earth abounds43, are equally abundant as constituents44 of Mars, and like our planet, Mars contains vast stores of mineral salts, which in solution form nature's remedial springs.
Naturally, as cooling of the Planet has proceeded, the primitive45 stratum47 has deepened, and as we perceive within its compass is a vast volume of highly heated matter, which, to a degree, corresponds with the interior of the World upon which you so serenely48 dwell.
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Very true, to one unaccustomed to such a view, it appears amazing and awe-inspiring.
Following the Devonian age the dank atmosphere was laden49 with noxious50 gases, and the fauna51 and flora52 of this Planet attained53 to gigantic proportions. This was the Carboniferous age, during which largely the coal fields were formed, and I may say that during a corresponding age of Earth like causes produced like effects. All over this planet, in various localities, deposits of coal abound42, and through unnumbered centuries, it served for the Marsians the purposes of fuel and illumination.
Now, madame, turn away your gaze from yonder fiery54 abysses and allow it to rest upon pleasanter views.
From the slight elevation21 on which we stand we gaze upon a very attractive scene. Stretching away into the distance are level plains, sustaining luxuriant verdure and a wealth of grains and other vegetation. The plains are dotted with towns and villages and animals of several kinds are grazing in the nearby inclosed fields.
A silvery haze55 veils the distant landscape, partly revealing, partly obscuring its exquisite56 beauty, and in all directions the land is abloom with many-hued57 flowers, each exhaling58 a fragrance59 all its own. Nature adorned60 as a queen demands her rightful measure of homage61, and thus we salute thee, thou beauteous expression of the Infinite Good.
The ceaseless activities of nature accomplish manifold wonders, and in the peculiar27 looking animals under the shade of yonder great trees we observe one that may surprise you. Madame, we will draw nearer them. At times I forget that your vision is not as far reaching as our own. You will allow me to assist you. Do you now see them clearly? Yes? Then for a little we will pause here. Your amazement62 does not at all surprise us, for indeed
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those creatures are strangely formed, colored and clothed. We desire that you shall attempt a description of that one standing63 apart from the others.
Medium—But where shall I begin? With its head? Certainly that is its strongest, strangest feature, and it is formed very like the head of a giraffe, but its enormous horns, curved spirally, extend upward, and its ears are small and drooping64. No one on Earth ever will believe me when I say that its large, gentle eyes are placed, one in the front, the other in the back of its head, yet truly they are there. Its neck is very like that of a horse, but rather longer, and its shoulders are much higher than its haunches. It is covered with short, reddish brown hair, perhaps I should say wool, for it is rough and crinkled, and on the end of its tail, which nearly touches the ground, is a great tuft of long, crinkled hair. Its mane is short, thick and upright, and both mane and tail are of a lighter tint65 of brown than is its body. At its shoulders it is the height of an ordinary horse, but its long neck and its great horns extending upward adds to its apparent height. I cannot imagine a more grotesque66 looking animal. I wonder what purpose it may serve?
George Brooks—I should say, to illustrate67 that when nature sets about it she can turn out enigmas68 difficult of solution. Another reason for the existence of such queer-looking animals may be that nature intends them as a background on which to exhibit the good looking ones, for grazing near yonder clump69 of shrubbery is an exceptionally handsome animal.
De L'Ester—George, you may not be either a philosopher or scientist, but certainly you are original.
Madame, will you also attempt a description of this animal?
Medium—I shall do my best, and where I fail you will
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prompt me. This animal reminds me of a horse, but it is larger than any horse I ever have seen. Its head is well proportioned to the size of its body and is as delicately formed as the head of a deer. Its ears are erect70, pointed71, rather small and set closely to its head. Its eyes are large, gentle and beautiful. Its neck is rather short, but symmetrical, and fringed with a long, silken mane. Its legs are well proportioned and its hoofs72 are daintily formed and semi-transparent73. Its tail, almost sweeping74 the ground, is covered with long hair the color of its mane, which is a very dark brown, and its body is clothed with hair of a lighter shade of brown, rather, I should say, with shades of brown and white arranged in spots, like those of a leopard75. I think it a very handsome animal. Is my description at all accurate?
De L'Ester—Quite so; and this animal is a Lûma̤, and the other is a Vetson. As I already have intimated on this Planet there are in its animal kingdom forms bearing striking resemblances to some existing on Earth, but owing to Planetary conditions they are of a larger type than their kindred of our Planet. You are to remember that all life germs are homogeneous, their varying expressions being the result of varying conditions. Thus throughout the myriad76 life expressions of different Planets there are endless strong resemblances. Why not? The conditions of the several Planets of our Solar System are not so utterly77 dissimilar as some of your learned persons declare them to be. And mark what I shall say: On Earth's physical plane there are at this time re-embodied ones whose inherent qualities will within the next half-century enable them to give to Earth's peoples undreamed of facts concerning other Worlds. Facts which will necessitate78 a readjustment of accepted scientific conclusions. Yes, necessarily, resemblances between the fauna and flora of Mars and Earth
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are closer than between those of any other two Planets of our Solar System. I say necessarily, for the reason that like produces like, and the conditions of Mars and Earth, being more nearly similar than are the corresponding conditions of any of their Planetary kindred, it follows that their productions must keep pace with conditions.
Another question? Certainly, but I must make a brief reply. Throughout the animal and vegetable kingdoms of all inhabited Planets structural79 divergences80 ever have marked the lines of evolution, the human animal alone excepted. True, the human animal evolves through all the gradations of animal existence, but unlike other animals, he diverges81 neither to the right nor to the left. His specific, inherent energy impelling82 him ever onward, ever upward and straight ahead. Man is the culmination83 not only of forces but of qualities which set him apart from all other physical existences. He is the apex84 of intelligent direction, the final, expression of God in form, not only on Mars and Earth, but in the human everywhere.
We will now proceed, observing as we move onward whatever may be instructive or interesting. Embowered in yonder grove85 of magnificent trees is a stately dwelling86. We will approach it more nearly, we even may enter it, for I doubt not, madame, we might find in it much that to you would be new and of interest. From its dimensions and imposing87 style we may conclude that it is the home of persons of wealth and distinction. For a little we will pause under the shade of these great trees, which impart a sense of restfulness.
Medium—You speak of a "sense of restfulness." May I ask do spirits, like mortals, experience a sense of fatigue88?
De L'Ester—What I mean by a sense of restfulness is a state of tranquillity90, through which a Spirit comes into harmonious91 relations with its
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surroundings. Spirits do not become wearied as expressed by the word fatigue, but upon entering the physical plane, Spirits, to a certain extent, take on the conditions with which they come in contact, and they experience what may be termed a sense of unrest or inharmony, and in exact proportion to the progress attained by Spirits is this sense of unrest accentuated92. Hence, Spirits of the higher spirit realms seldom enter the physical plane. Have I made the matter clear to your comprehension?
Medium—Perfectly so.
De L'Ester—We now will look at this massive and really fine structure. As it is a good example of the many imposing residences to be found throughout this North temperate93 region, it shall serve as an object lesson for you, madame, and I shall take upon myself a description of its exterior94.
A large structure of gray stone, extending on either side of a central entrance for at least forty feet. The entrance, which is wide and lofty, is approached by a fine flight of stone steps, leading easily up to it. Artistic95 and elaborate sculpture frames in the doorway97, and on either side of the entrance are sculptured life-size forms in bas-relief. Their upturned eyes and upreaching hands lead one to conclude that they represent a guardian98 God and Goddess.
The entire front is pierced by many large windows surrounded by wide bands of intricate sculptured designs. Story above story to the height of four, the central portion of the building rises, and on either side of it are wings, two stories in height. Its entire front is beautified by traceries of delicate sculpture, among which are groups of life forms of various kinds. No doubt these forms hold certain meanings, and we regret that our Mars friends have not yet joined us, as they might enlighten us in this direction.
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We now will move around to the right. Ah, here is a sort of annex99 and evidently devoted100 to pious101 purposes. Being a Frenchman I would term it une Temple, and you, madame, would name it a Chapel102. It appears to be an extension of the dwelling, but really is quite a separate structure, which later on we will examine. As we perceive, these spacious103 and comfortable apartments at the rear of the dwelling are occupied by the domestics. As you, madame, are aware, to most Earth dwellers104, Spirits are invisible; to the Marsians they are even less so, so we safely may enter the dwelling to have a view of the interior, but, George, you are to play no pranks105 to startle the occupants.
We will enter at the front. What a beautiful interior. This grand staircase, rising from this central hall, is fine enough for a royal palace. Evidently an able architect designed this dwelling, and intelligent and cultivated persons occupy it.
How very quiet it is. What is it, George? Not a soul in the house? Better so, for really this seems a sort of intrusion, all the more so were the occupants at home. Now, madame, which part of the dwelling shall we first investigate? Ah, we might have guessed that, as you are such a devoted housewife. To the kitchen then, but I shall expect you to describe this apartment, as really it is more than I am equal to.
Medium—I fear that I also am unequal to a description of it. It appears to be better fitted for chemical experiments than for a kitchen. What a large, sunny, airy room it is and what a variety of utensils106. I cannot even guess at the uses of many of them. Am I mistaken in supposing that these bowls and platters and some of these pretty vessels107 are of gold and silver? No? Then those metals must be very plentiful108, or the owner of this residence very rich. As sure as I live here is a weighing ap
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paratus, and in design not very unlike one I use in my own kitchen. What are you saying, George? That one touch of nature makes worlds akin8. Well, while this is not a touch of nature, it has a wonderfully homelike appearance. And here is a cooking range, but it is not designed for the use of coal, wood or gas. I wonder what kind of fuel these people use? De L'Ester, can you enlighten me?
De L'Ester—Since a very remote time the people of this Planet have for heating, lighting110 and as a motive111 power used electricity. In this instance it is the heating agent.
Medium—And Earth's peoples, who regard themselves as highly evolved humans, are only beginning to learn of the many uses to which it may be applied112. One cannot question the fact that the same metals used on Earth are used on Mars, for here are vessels and utensils of gold, silver, iron, copper, tin, and what looks like brass113, and of alloys114 new to me. Then here are vessels which I shall call porcelain115, and there are various other wares116 similar to some with which I am familiar. I cannot find words to express my amazement at all this, it seems so utterly incredible, and yet I cannot question the evidence of my own senses. A woman with a genius for cooking would be enchanted117 with this kitchen. Is the dining-room as well worth seeing?
De L'Ester—It may be, but the family being absent, to an extent it is dismantled118, so we prefer that you should not see it. Then, too, we have in mind a certain dining-hall which we purpose showing to you.
Now we will look through the rooms at the front of the dwelling. We will enter this one on the right. What a superb apartment, so spacious, so sumptuously119 furnished. Art and luxurious120 appointments combined have produced charming effects. Here, and elsewhere, we anticipate the pleasure of showing you many evidences of the wealth and
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culture of the Marsians. Before proceeding121 further we desire to inform you of something which, for a reason, until now, we have withheld122. This Planet, known to Earth's peoples as Mars, is, by its inhabitants, known as Ento, which, in their language, signifies CHOSEN, or SET APART. They believe that as an expression of His love, Andûmana, the Supreme123 One, created Ento, and that when their home was prepared for their occupation He created His children, who with other living things should manifest the power and greatness of His Divinity. In future we will speak of the Planet as Ento, and of its peoples as Entoans, and during our journeyings and investigations124 you will learn that on Ento there is a state of civilization and consequent culture quite in advance of that of our own immature126 Planet.
Observe now those paintings. What marvellous creations they are. And those sculptured forms, so beautiful, so true to nature. Only the mind of a genius and the hand of a master could have conceived and executed either of them.
Here is a masterpiece. I know not what title the artist may have given it. I shall name it "Love's Awakening127." It represents the sculptured form of a young girl just budding into womanhood. How charming is the angelic expression of her upturned eyes and smiling lips. The face, no longer that of a child, yet scarcely that of a woman, is rarely beautiful. She seems to be listening to Love's first whisperings, and almost one can fancy her lovely mouth tremulous.
So eloquent128 is the silence of her slightly parted lips, that in expectant attention, one listens for the faint murmurings of a soul awakened129 to the infinite possibilities of the passion, which welds into a unit all things animate130 and inanimate. Observe that the drapery, half
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concealing, half revealing the exquisite form, is as transparent as a mist wreath. Truly it is a marvellous expression of art. These friends and I are not unused to the finest representations of art of many planets, yet seldom have we seen a piece of sculpture equal this; still less seldom have we seen one surpassing it in design, or excellence132 of execution.
No, madame, the extent of this collection is not unusual, for the Entoans are liberal patrons of the arts. But we will look further.
Here, on a grassy133 knoll134, is a group of three quite young boys, their forms lightly clothed in loose garments, which but partly conceal131 their rounded, shapely limbs. The middle, and larger boy, holds on his knees a book, from which apparently135 he reads a stirring story, to which the other boys listen with rapt attention, their beautiful faces expressing liveliest emotion. Notwithstanding that this group does not strongly appeal to the imagination, there is that which obliges one to feel that in it the sculptor136 has embodied much love and a reverence137 for art.
Now we will learn what this draped recess138 may contain. Ah, a descriptive composition, and in tinted139 marble. Not an agreeable representation, but an instructive reminder of a religious rite140 of happily bygone centuries.
Before us is an altar, on which lies the draped form of a young girl, her eyes closed as though in sleep. The loose robe drawn141 aside from her bosom142 reveals the contours of a maiden143 in the first blush of womanhood. At her side, holding in his upraised hand a long, keen bladed knife, which he is about to thrust into the heart of the unconscious victim, stands an aged144, majestic145 looking Priest, his crimson146 robe in strong contrast to the white robed, golden-haired girl, who is to be sacrificed by knife and flames to an imaginary god or gods.
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While one must admire the consummate147 art which so faithfully has represented this scene, one shudderingly148 turns from it, as being a horrible reminder of the many crimes and cruelties, which in the name of Religion, have been, and still are perpetrated.
Madame, it is a lamentable149 truth, that incorrect conceptions of the attributes of the Supreme One, ever are allied150 to cruelty. This statement applies not only to Ento, and Earth, but to all Planets inhabited by humans. It is only when man has become highly evolved, that spirit, the ego151, dominates the animal soul, and God is apprehended152 as love, not hate.
Ancient Ento spirits, and others of comparatively modern times, have informed us concerning their religious rites153 and customs, which during the passing centuries have, with the exception of the sacrificial rite, remained almost unchanged. They relate that the victims of that horrible rite generally were drugged into unconsciousness, yet at times, willing victims, hoping thereby154 to appease155 the offended Gods, and thus avert156 some calamity, went consciously, courageously157, to their death. Though deploring158 the ignorant fanaticism159 of such an act, one feels impelled160 to admire the heroic and generous nature of one willing to yield his or her life as a sacrifice for the real or fancied good of others.
In this adjoining recess is another composition, scarcely less pathetic, but devoid161 of the element of cruelty. On a large malachite base is a stone altar, on which lies the nearly nude162 body of a dead boy, and over and about him is a mass of inflammable material, bursting into flames. Thus in very ancient times the Entoans disposed of their dead. It is a very realistic representation of a custom of remote times, and certainly is not the production of an artist of recent days. Yes, incineration of their dead, is
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with the Entoans, a universal custom but during many centuries it has been accomplished163 in a more scientific, and less repellent manner.
You still express surprise, that the Entoans, physically164, are formed as are we, and the peoples of our Planet. My dear madame, believe me, when I reiterate165, that humans, no matter of what Planet, are essentially166 the same. Disabuse167 your mind, now, and for all time, of the idea, that necessarily, different Planets must produce entirely168 different expressions of life. One Intelligent Energy directs the universe, and one universal Law prevails. Should you visit Venus, Jupiter, or indeed any Planet inhabited by humans, you would find man, only as you know him. Evolved, it is true, on some Planets, to a higher spiritual, consequently to a more perfected physical plane, and a more advanced state of civilization. Spiritualized humans are the expressions of spirit entities169. These spirit entities must act within their limitations, and never, never, by any possibility, does a spirit entity170 take possession of any other than the evolved human organism. Spirit knows no such negation171 as retrogression. When man on any Planet has evolved to a certain condition, or degree, he becomes a partially172 self-conscious soul, and then he walks erect. Ages pass and he becomes a Spiritualized Being, Spiritualized through the incarnation in him of a Spirit entity, which enables him to fully109 recognize himself. Not until then, is he evolved into the Spiritualized IMMORTAL—THE GOD MAN, as are all Spiritualized MEN everywhere.
Nay173, you owe me no apology. I quite understand your mental state, and desire that you shall ask such questions as naturally must occur to you.
Observe now the very beautiful hangings of this apartment. They are of thick, lustrous174 silk, and their rich
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shades of crimson and gold form an excellent background for these superb paintings and marbles. It is to be regretted that limited time and space will not admit of a more detailed175 description of the many works of art in this collection. As it is, we must content ourselves with glances here and there. We think it advisable to notice this large painting, which vividly176 illustrates177 another feature of the sacrificial observance. It represents the interior of a richly ornate temple, and on a raised space stands a number of Priests and Priestesses, clothed in long, flowing, crimson and yellow garments. With the exception of three Priests, who are brown haired, blue eyed, and fair skinned, all are very dark hued. The hair of the younger, dark complexioned178 Priests is very black, and worn quite to their shoulders, and that of the aged ones is as white as wool, and worn in the same fashion. Around the heads of all are narrow fillets of gold, binding179 back their flowing locks. On these fillets, directly over the forehead, are golden suns, the points of the rays tipped with yellow jewels—topazes, I should say—and the centre of each sun is what appears to be a fine ruby180, encircled by topazes.
The Priestesses are young, dark skinned, and dark eyed, and their long black hair falls loosely toward their feet, which are concealed181 by their crimson and yellow robes. Around their heads are fillets, corresponding with those worn by the Priests. In the foreground are a number of youths and maidens182, and back of them a throng183 of men and women, all with anxious, terror stricken faces. Well may the eyes and faces of the assemblage be full of fear, for some one's child will be selected as a sacrifice to their Gods, whose dwelling place is beyond the clouds which veil the portals of Astranola̤, lest impious, inquiring eyes gazing upward, may behold184 what mortals may not see, and live.
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This painting depicts185 a scene once of frequent occurrence, but during four centuries past the horrible cruelty has not been practiced.
We now will pass into the adjoining apartment. This appears to be a sort of lounging room, in which form and color combined have produced some fine effects. Over the lofty corniced windows and doorways186, velvet-like, crimson drapery falls in graceful187 folds. Luxurious divans188 line the cream tinted walls, over which sprays of lovely, dainty blossoms are scattered189. The floor is a mosaic190 of exquisite effects. The field, a rich cream color, the designs, graceful, lifelike flower pieces, united by trailing vines. A deep border of aquatic191 plants, grasses and vining lily blooms, forms a fitting frame to the lovely floor picture, over which very beautiful rugs are disposed.
This large and massive table, so exquisitely192 carved, and inlaid with rare colored woods, in a design partly arabesque193, partly floral, is indeed a thing of beauty, but more beautiful still is this superb vase, occupying its raised centre.
These portfolios194 of pictured illustrations we can only glance at. Yes, in conception, coloring, and execution, they are highly meritorious195. The same may be said of these handsomely bound volumes. You had not thought to find books on Ento? Why not, madame? Do not you yet comprehend that the inherent attributes of the genus homo, not only impels196, but inevitably197 compels him in one common direction? This is a universal law, and there is no escape from it. As I already have declared, its expression, wherever demonstrated, is essentially the same. We doubt not that many things we shall show you on Ento will surprise you, more by their likeness198 than by their unlikeness, to what may be found on our Planet.
The entire ornamentation and appointments of this
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apartment are rather quiet in tone, but le tout200 ensemble201, is very refined and beautiful.
George is so urgent to hasten our movements that I suspect he is up to some mischief202. Yes, yes, we are coming. George, George, you are incorrigible203; it is not surprising that madame is startled, for this figure is wonderfully lifelike, and what an odd conceit204, to use one of its long arms to hold back this heavy drapery.
Medium—Really, for a moment, I thought it a living creature. Does it represent a human being? It looks very like one.
De L'Ester—Truly it does appear very human, but it represents a species of Ento anthropoid205, so intelligent, that frequently it is trained for simple requirements, mostly of a domestic nature. As later on, you will see living specimens206 of the same creature, I shall not now describe it. Enough cannot be said of the fidelity207 with which the artificer has reproduced the form, coloring, and expression of the living animal. Of what metal is it made? Of a composition of copper and tin, and if you choose, you may call it bronze, for that is what it is. Yes, the enamelling is very fine, the tinting208 is true to nature.
Here is a collection of miniature paintings, and be assured that these illustrations of Ento female loveliness are not at all exaggerated. Some are types of the blonde, blue eyed Northern races, others of the dark skinned, lovely women of the Orient, with eyes as dark and liquid as quiet pools in shady nooks. As you perceive, all are arrayed in graceful flowing garments, unlike the hideous209 robes worn by even the most highly civilized210 women of our Planet.
Ah, what a gem211! We cannot pass this by unnoticed. Madame, you will carefully observe this painting, as some time you may have occasion to recall a memory of it.
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In the foreground is a youth in the early flush of manhood, whose shapely head is crowned with black hair waving down to his shoulders, and bound away from his fine forehead by a jewelled silver fillet. His smiling, parted lips, form a perfect Cupid's bow, and above them is a nose as straight and finely formed as ever graced the face of a Grecian statue. A robe of azure212 blue, bordered with silver embroidery213, clothes his very tall, graceful form, and falls in artistic lines to his sandalled feet. Looped high on his left shoulder is a loose sleeve drapery, caught into folds by a jewelled ornament199, indicating that this youth is of exalted214 rank. Bending slightly forward, he smilingly listens to the words of a young girl, reclining on a low couch, who is costumed in a soft, clinging, white robe, which scarcely conceals215 the outlines of a fragile but perfect form. Her golden hair, which is caught back from her low, wide, white forehead, by a silver fillet, adorned with sapphires216 no bluer than her lovely eyes, seems to have caught sunlight in its tresses, as it falls in rippling217 masses over her shoulders and onto the floor, where it lies in golden confusion, on a rug of rich, dark hued fur. She is as fair as the youth is dark, and in her beautiful face is the innocence218 and mirthfulness of the child, with the promise, too, of a gracious womanhood. Remember these faces, for one day you may see the originals.
How true it is that art expressions are the mute speech of genius, and genius is but another name for inspiration. It has been said "back of the artist is art, and back of art is that which men name God." That is a fine expression of the unity12 of things.
George, Agassiz, Humboldt, hasten here. Ah! you too, recognize, this scene, Is not it an agreeable surprise? Madame, I will explain. This is a most exact representa
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tion of a locality these friends and I have visited. Rather recently we with some scientific and other persons were, for a certain purpose, making a tour of Ento, and while slowly journeying toward a distant portion of the planet we found ourselves passing over the spot illustrated219 by this painting. It attracted our attention, and descending, we found it such a quiet, tranquil89 spot that unanimously we named it the Valley of Repose220. With wonderful fidelity and consummate art the painter has reproduced the lovely scene. Stand here, madame, and I will attempt to describe it.
A spacious valley surrounded on three sides by gently rising uplands, which in long gone ages were portions of a mountain range. From a rocky formation in the upper end of the valley debouches a considerable volume of water, forming this sparkling stream, which empties itself into yonder pretty lake, dotted with tiny islands. Those rather fragile looking bridges thrown from island to island form continuous passageways to either side of the valley. The villages dotting the rim46 of the lake, and those white structures on the larger islands, to one's imagination suggest flocks of white plumaged water fowl221 nestling amid the luxuriant greenery. Boats laden with the products of labor96. Crews intent upon landing their crafts. Other boats carrying pleasure seekers, who call to passing friends, fill up the animated222 picture. Gazing with admiring eyes upon the lovely scene, we tarried awhile under these great trees laden with sweet scented223 blooms.
You may like to know that this valley is in the North Temperate Zone, in latitude and longitude corresponding nearly to that of the northern central portion of your State of Tennessee. Being sheltered by the uplands, the climate is very genial224, and the loamy soil produces grains, vegetables and fruits in great abundance.
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Continually artists frequent this valley to sketch225 its beauties, and the painter of this picture, who signs himself as Lafon Thēdossa̤, has literally226 transferred the lake and its surroundings to his canvas. It seems as though we have met face to face a well known friend.
My dear madame, do not vex227 yourself that we cannot use your organism for all purposes. Were we engaged in a purely228 scientific work it would be altogether necessary that we should have a Sensitive through whom we might express technicalities pertaining229 to matters under investigation125 or discussion. All along we have fully understood your limitations, as well as your extremely skeptical230 and cautious nature, and we well know that should we attempt to express through you statistics, technicalities, latitude, longitude, and other matters your nearly morbid231 dread232 of making mistakes would render you so positive that we could not use you at all. At present we are quite satisfied with what we can accomplish through you, and we anticipate a time when you shall have so developed that we shall be able to use you for ends you little dream of. So we pray you to fret233 no more that you are not equal to our wishes, for you quite satisfy our requirements.
We must not hold you longer to-day. Gradually you are adjusting yourself to present conditions and ere long we may lengthen234 our visits to this Planet, but now at once you must be returned to your Earth home. There are indications that the occupants of this residence are about to return to it, so endeavor to hold yourself in readiness, for we may come for you at an unusual hour. Now, George, Earthward. Not another question, madame. We must not allow you to become exhausted235.
Safely arrived, and some one is knocking at your door. May loving angels have you in their keeping. Au revoir.
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1
imperative
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| n.命令，需要；规则；祈使语气；adj.强制的；紧急的 | |
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reverent
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| adj.恭敬的，虔诚的 | |
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adoration
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| n.爱慕，崇拜 | |
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wilt
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| v.(使)植物凋谢或枯萎；(指人)疲倦，衰弱 | |
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depressed
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| adj.沮丧的，抑郁的，不景气的，萧条的 | |
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6
sufficiently
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| adv.足够地，充分地 | |
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atmospheric
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| adj.大气的，空气的；大气层的；大气所引起的 | |
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8
akin
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| adj.同族的，类似的 | |
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inevitable
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| adj.不可避免的，必然发生的 | |
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10
density
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| n.密集，密度，浓度 | |
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11
lighter
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| n.打火机，点火器；驳船；v.用驳船运送；light的比较级 | |
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12
unity
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| n.团结，联合，统一；和睦，协调 | |
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13
panorama
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| n.全景，全景画，全景摄影，全景照片[装置] | |
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14
reminder
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| n.提醒物，纪念品；暗示，提示 | |
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15
diminutive
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| adj.小巧可爱的，小的 | |
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16
luminous
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| adj.发光的，发亮的；光明的；明白易懂的；有启发的 | |
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17
onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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18
relatively
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| adv.比较...地，相对地 | |
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19
latitude
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| n.纬度，行动或言论的自由(范围)，(pl.)地区 | |
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20
disintegration
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| n.分散，解体 | |
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21
elevation
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| n.高度；海拔；高地；上升；提高 | |
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22
elevations
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| （水平或数量）提高( elevation的名词复数 )； 高地； 海拔； 提升 | |
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23
disturbances
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| n.骚乱( disturbance的名词复数 )；打扰；困扰；障碍 | |
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24
cyclonic
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| adj.气旋的，飓风的 | |
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25
intervals
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| n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息 | |
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26
peculiarity
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| n.独特性，特色；特殊的东西；怪癖 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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28
inundate
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| vt.淹没，泛滥，压倒 | |
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29
calamity
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| n.灾害，祸患，不幸事件 | |
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30
descending
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| n. 下行 adj. 下降的 | |
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31
salute
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| vi.行礼，致意，问候，放礼炮；vt.向…致意，迎接，赞扬；n.招呼，敬礼，礼炮 | |
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32
embodied
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| v.表现( embody的过去式和过去分词 )；象征；包括；包含 | |
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adventurous
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| adj.爱冒险的；惊心动魄的，惊险的，刺激的 | |
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courageous
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| adj.勇敢的，有胆量的 | |
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longitude
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| n.经线，经度 | |
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36
decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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37
reptilian
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| adj.（像）爬行动物的；（像）爬虫的；卑躬屈节的；卑鄙的n.两栖动物；卑劣的人 | |
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38
merging
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| 合并（分类） | |
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39
wondrous
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| adj.令人惊奇的，奇妙的；adv.惊人地；异乎寻常地；令人惊叹地 | |
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40
vestiges
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| 残余部分( vestige的名词复数 )； 遗迹； 痕迹； 毫不 | |
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41
copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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42
abound
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| vi.大量存在；(in，with)充满，富于 | |
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43
abounds
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| v.大量存在，充满，富于( abound的第三人称单数 ) | |
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44
constituents
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| n.选民( constituent的名词复数 )；成分；构成部分；要素 | |
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45
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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46
rim
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| n.(圆物的)边，轮缘；边界 | |
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47
stratum
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| n.地层，社会阶层 | |
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48
serenely
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| adv.安详地，宁静地，平静地 | |
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49
laden
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| adj.装满了的；充满了的；负了重担的；苦恼的 | |
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50
noxious
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| adj.有害的，有毒的；使道德败坏的，讨厌的 | |
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51
fauna
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| n.(一个地区或时代的)所有动物，动物区系 | |
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52
flora
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| n.(某一地区的)植物群 | |
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53
attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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54
fiery
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| adj.燃烧着的，火红的；暴躁的；激烈的 | |
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55
haze
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| n.霾，烟雾；懵懂，迷糊；vi.(over)变模糊 | |
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56
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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57
hued
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| 有某种色调的 | |
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58
exhaling
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| v.呼出，发散出( exhale的现在分词 )；吐出（肺中的空气、烟等），呼气 | |
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59
fragrance
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| n.芬芳，香味，香气 | |
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60
adorned
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| [计]被修饰的 | |
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61
homage
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| n.尊敬，敬意，崇敬 | |
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62
amazement
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| n.惊奇，惊讶 | |
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63
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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64
drooping
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| adj. 下垂的，无力的 动词droop的现在分词 | |
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65
tint
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| n.淡色，浅色；染发剂；vt.着以淡淡的颜色 | |
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66
grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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67
illustrate
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| v.举例说明，阐明；图解，加插图 | |
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68
enigmas
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| n.难于理解的问题、人、物、情况等，奥秘( enigma的名词复数 ) | |
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69
clump
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| n.树丛，草丛；vi.用沉重的脚步行走 | |
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70
erect
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| n./v.树立，建立，使竖立；adj.直立的，垂直的 | |
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71
pointed
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| adj.尖的，直截了当的 | |
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72
hoofs
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| n.（兽的）蹄，马蹄( hoof的名词复数 )v.（兽的）蹄，马蹄( hoof的第三人称单数 ) | |
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73
transparent
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| adj.明显的，无疑的；透明的 | |
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74
sweeping
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| adj.范围广大的，一扫无遗的 | |
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75
leopard
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| n.豹 | |
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76
myriad
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| adj.无数的；n.无数，极大数量 | |
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77
utterly
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| adv.完全地，绝对地 | |
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78
necessitate
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| v.使成为必要，需要 | |
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79
structural
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| adj.构造的，组织的，建筑（用）的 | |
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80
divergences
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| n.分叉( divergence的名词复数 )；分歧；背离；离题 | |
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81
diverges
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| 分开( diverge的第三人称单数 )； 偏离； 分歧； 分道扬镳 | |
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82
impelling
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| adj.迫使性的，强有力的v.推动、推进或敦促某人做某事( impel的现在分词 ) | |
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83
culmination
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| n.顶点；最高潮 | |
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84
apex
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| n.顶点，最高点 | |
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85
grove
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| n.林子，小树林，园林 | |
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86
dwelling
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| n.住宅，住所，寓所 | |
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87
imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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88
fatigue
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| n.疲劳，劳累 | |
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89
tranquil
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| adj. 安静的, 宁静的, 稳定的, 不变的 | |
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90
tranquillity
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| n. 平静, 安静 | |
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91
harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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92
accentuated
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| v.重读( accentuate的过去式和过去分词 )；使突出；使恶化；加重音符号于 | |
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93
temperate
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| adj.温和的，温带的，自我克制的，不过分的 | |
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94
exterior
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| adj.外部的，外在的；表面的 | |
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95
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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96
labor
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| n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦 | |
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97
doorway
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| n.门口，(喻)入门；门路，途径 | |
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98
guardian
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| n.监护人；守卫者，保护者 | |
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99
annex
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| vt.兼并，吞并；n.附属建筑物 | |
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100
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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101
pious
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| adj.虔诚的；道貌岸然的 | |
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102
chapel
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| n.小教堂，殡仪馆 | |
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103
spacious
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| adj.广阔的，宽敞的 | |
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104
dwellers
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| n.居民，居住者( dweller的名词复数 ) | |
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105
pranks
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| n.玩笑，恶作剧( prank的名词复数 ) | |
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106
utensils
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| 器具，用具，器皿( utensil的名词复数 )； 器物 | |
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107
vessels
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| n.血管( vessel的名词复数 )；船；容器；（具有特殊品质或接受特殊品质的）人 | |
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108
plentiful
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| adj.富裕的，丰富的 | |
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109
fully
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| adv.完全地，全部地，彻底地；充分地 | |
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110
lighting
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| n.照明，光线的明暗，舞台灯光 | |
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111
motive
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| n.动机，目的；adv.发动的，运动的 | |
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112
applied
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| adj.应用的；v.应用，适用 | |
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113
brass
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| n.黄铜；黄铜器，铜管乐器 | |
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114
alloys
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| n.合金( alloy的名词复数 ) | |
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115
porcelain
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| n.瓷；adj.瓷的，瓷制的 | |
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116
wares
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| n. 货物, 商品 | |
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enchanted
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| adj. 被施魔法的，陶醉的，入迷的 动词enchant的过去式和过去分词 | |
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118
dismantled
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| 拆开( dismantle的过去式和过去分词 )； 拆卸； 废除； 取消 | |
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119
sumptuously
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| 奢侈地，豪华地 | |
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120
luxurious
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| adj.精美而昂贵的；豪华的 | |
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121
proceeding
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| n.行动，进行，(pl.)会议录，学报 | |
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122
withheld
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| withhold过去式及过去分词 | |
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123
supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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124
investigations
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| （正式的）调查( investigation的名词复数 )； 侦查； 科学研究； 学术研究 | |
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125
investigation
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| n.调查，调查研究 | |
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126
immature
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| adj.未成熟的，发育未全的，未充分发展的 | |
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127
awakening
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| n.觉醒，醒悟 adj.觉醒中的；唤醒的 | |
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128
eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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129
awakened
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| v.（使）醒( awaken的过去式和过去分词 )；（使）觉醒；弄醒；（使）意识到 | |
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130
animate
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| v.赋于生命，鼓励；adj.有生命的，有生气的 | |
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131
conceal
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| v.隐藏，隐瞒，隐蔽 | |
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132
excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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133
grassy
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| adj.盖满草的；长满草的 | |
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134
knoll
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| n.小山，小丘 | |
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135
apparently
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| adv.显然地；表面上，似乎 | |
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136
sculptor
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| n.雕刻家，雕刻家 | |
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137
reverence
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| n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬 | |
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138
recess
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| n.短期休息，壁凹（墙上装架子，柜子等凹处） | |
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139
tinted
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| adj. 带色彩的 动词tint的过去式和过去分词 | |
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140
rite
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| n.典礼，惯例，习俗 | |
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141
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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142
bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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143
maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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144
aged
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| adj.年老的，陈年的 | |
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145
majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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146
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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consummate
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| adj.完美的；v.成婚；使完美 [反]baffle | |
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148
shudderingly
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149
lamentable
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| adj.令人惋惜的，悔恨的 | |
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150
allied
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| adj.协约国的；同盟国的 | |
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151
ego
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| n.自我，自己，自尊 | |
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152
apprehended
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| 逮捕，拘押( apprehend的过去式和过去分词 )； 理解 | |
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153
rites
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| 仪式，典礼( rite的名词复数 ) | |
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154
thereby
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| adv.因此，从而 | |
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155
appease
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| v.安抚，缓和，平息，满足 | |
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156
avert
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| v.防止，避免；转移(目光、注意力等) | |
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157
courageously
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| ad.勇敢地，无畏地 | |
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158
deploring
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| v.悲叹，痛惜，强烈反对( deplore的现在分词 ) | |
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159
fanaticism
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| n.狂热，盲信 | |
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160
impelled
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| v.推动、推进或敦促某人做某事( impel的过去式和过去分词 ) | |
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161
devoid
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| adj.全无的，缺乏的 | |
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162
nude
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| adj.裸体的；n.裸体者，裸体艺术品 | |
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163
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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164
physically
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| adj.物质上，体格上，身体上，按自然规律 | |
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165
reiterate
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| v.重申，反复地说 | |
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166
essentially
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| adv.本质上，实质上，基本上 | |
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167
disabuse
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| v.解惑；矫正 | |
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168
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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169
entities
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| 实体对像； 实体，独立存在体，实际存在物( entity的名词复数 ) | |
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170
entity
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| n.实体，独立存在体，实际存在物 | |
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171
negation
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| n.否定；否认 | |
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172
partially
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| adv.部分地，从某些方面讲 | |
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173
nay
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| adv.不；n.反对票，投反对票者 | |
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174
lustrous
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| adj.有光泽的；光辉的 | |
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175
detailed
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| adj.详细的，详尽的，极注意细节的，完全的 | |
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176
vividly
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| adv.清楚地，鲜明地，生动地 | |
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177
illustrates
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| 给…加插图( illustrate的第三人称单数 )； 说明； 表明； （用示例、图画等）说明 | |
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178
complexioned
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| 脸色…的 | |
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179
binding
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| 有约束力的，有效的，应遵守的 | |
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180
ruby
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| n.红宝石，红宝石色 | |
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181
concealed
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| a.隐藏的，隐蔽的 | |
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182
maidens
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| 处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球 | |
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183
throng
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| n.人群，群众；v.拥挤，群集 | |
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184
behold
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| v.看，注视，看到 | |
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185
depicts
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| 描绘，描画( depict的第三人称单数 )； 描述 | |
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186
doorways
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| n.门口，门道( doorway的名词复数 ) | |
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187
graceful
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| adj.优美的，优雅的；得体的 | |
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188
divans
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| n.（可作床用的）矮沙发( divan的名词复数 )；（波斯或其他东方诗人的）诗集 | |
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189
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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190
mosaic
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| n./adj.镶嵌细工的，镶嵌工艺品的，嵌花式的 | |
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191
aquatic
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| adj.水生的，水栖的 | |
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192
exquisitely
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| adv.精致地；强烈地；剧烈地；异常地 | |
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193
arabesque
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| n.阿拉伯式花饰；adj.阿拉伯式图案的 | |
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194
portfolios
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| n.投资组合( portfolio的名词复数 )；（保险）业务量；（公司或机构提供的）系列产品；纸夹 | |
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195
meritorious
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| adj.值得赞赏的 | |
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196
impels
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| v.推动、推进或敦促某人做某事( impel的第三人称单数 ) | |
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197
inevitably
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| adv.不可避免地；必然发生地 | |
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198
likeness
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| n.相像，相似（之处） | |
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199
ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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200
tout
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| v.推销，招徕；兜售；吹捧，劝诱 | |
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201
ensemble
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| n.合奏(唱)组；全套服装；整体，总效果 | |
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202
mischief
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| n.损害，伤害，危害；恶作剧，捣蛋，胡闹 | |
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203
incorrigible
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| adj.难以纠正的，屡教不改的 | |
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204
conceit
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| n.自负，自高自大 | |
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205
anthropoid
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| adj.像人类的，类人猿的；n.类人猿；像猿的人 | |
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206
specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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207
fidelity
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| n.忠诚，忠实；精确 | |
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208
tinting
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| 着色，染色（的阶段或过程） | |
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209
hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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210
civilized
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| a.有教养的，文雅的 | |
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211
gem
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| n.宝石，珠宝；受爱戴的人 [同]jewel | |
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212
azure
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| adj.天蓝色的，蔚蓝色的 | |
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213
embroidery
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| n.绣花，刺绣；绣制品 | |
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214
exalted
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| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
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215
conceals
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| v.隐藏，隐瞒，遮住( conceal的第三人称单数 ) | |
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216
sapphires
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| n.蓝宝石，钢玉宝石( sapphire的名词复数 )；蔚蓝色 | |
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217
rippling
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| 起涟漪的，潺潺流水般声音的 | |
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218
innocence
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| n.无罪；天真；无害 | |
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219
illustrated
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| adj. 有插图的，列举的 动词illustrate的过去式和过去分词 | |
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220
repose
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| v.(使)休息；n.安息 | |
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221
fowl
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| n.家禽，鸡，禽肉 | |
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222
animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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223
scented
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| adj.有香味的；洒香水的；有气味的v.嗅到(scent的过去分词) | |
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224
genial
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| adj.亲切的，和蔼的，愉快的，脾气好的 | |
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225
sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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226
literally
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| adv.照字面意义，逐字地；确实 | |
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227
vex
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| vt.使烦恼，使苦恼 | |
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228
purely
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| adv.纯粹地，完全地 | |
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229
pertaining
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| 与…有关系的，附属…的，为…固有的(to) | |
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230
skeptical
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| adj.怀疑的，多疑的 | |
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231
morbid
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| adj.病的；致病的；病态的；可怕的 | |
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232
dread
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| vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧 | |
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233
fret
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| v.(使)烦恼；(使)焦急；(使)腐蚀，(使)磨损 | |
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234
lengthen
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| vt.使伸长，延长 | |
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235
exhausted
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| adj.极其疲惫的，精疲力尽的 | |
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