The Law of One Search Results for ‘rendition’

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89.25 Questioner: Sorry, I didn’t understand exactly what you meant with respect to that. Would it be appropriate then for me to answer the questions with respect to what I think is the meaning of the three items that you spoke of for Card One and then Card Eight, etc.? Is this what you meant?

Ra: I am Ra. This is very close to our meaning. It was our intention to suggest that one or more of you go through the plan of study which we have suggested.

The queries having to do with the archetypes as found in the tarot, after this point, may take the form of observing what seem to be the characteristics of each archetype; relationships between mind, body, and spiritual archetypes of the same ranking, such as Matrix; or archetypes as seen in relationship to polarity, especially when observed in the pairings.

Any observations made by a student which has fulfilled these considerations will receive our comments in return. Our great avoidance of interpreting, for the first time, for the learn/teacher various elements of a picture upon a piece of pasteboard is involved both with the Law of Confusion and with the difficulties of the distortions of the pictures upon the pasteboard. Therefore, we may suggest a conscientious review of that which we have already given concerning this subject as opposed to the major reliance being either upon any rendition of the archetype pictures, or any system which has been arranged as a means of studying these pictures.

75.14 Questioner: The instrument would like to know why twice at the “Benedictus” portion of the music that she practises did she experience what she believes to be a psychic attack?*

Ra: I am Ra. This is not a minor query. We shall first remove the notations which are minor. In the vibrating, which you call singing, of the portion of what this instrument hallows as the Mass, which immediately precedes that which is the chink called the “Hosanna,” there is an amount of physical exertion required that is exhausting to any entity. This portion of which we speak is termed the “Sanctus.” We come now to the matter of interest.

When the entity Jehoshua** decided to return to the location called Jerusalem for the holy days of its people, it turned from work mixing love and wisdom and embraced martyrdom, which is the work of love without wisdom.

The “Hosanna,” as it is termed, and the following “Benedictus,” is that which is the written summation of what was shouted as Jehoshua came into the place of its martyrdom. The general acceptance of this shout—“Hosanna to the son of David! Hosanna in the highest! Blessed is he who comes in the name of the Lord!”—by that which is called the church has been a misstatement of occurrence which has been, perhaps, unfortunate, for it is more distorted than much of the so-called Mass.

There were two factions present to greet Jehoshua, firstly, a small group of those which hoped for an earthly king. However, Jehoshua rode upon an ass stating by its very demeanour that it was no earthly king, and wished no fight with Roman or Sadducee.

The greater number were those which had been instructed by rabbi and elder to make jest of this entity, for those of the hierarchy feared this entity who seemed to be one of them, giving respect to their laws, and then, in their eyes, betraying those time-honoured laws and taking the people with it.

The chink, for this instrument, is this subtle situation which echoes down through your space/time. And, more than this, the place the “Hosanna” holds as the harbinger of that turning to martyrdom.

We may speak only generally here. The instrument did not experience the full force of the greeting which it correctly identified during the “Hosanna” due to the intense concentration necessary to vibrate its portion of that composition. However, the “Benedictus” in this particular rendition of these words is vibrated by one entity. Thus, the instrument relaxed its concentration and was immediately open to the fuller greeting.