The Law of One Sessions 100: Question 3

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14.3 Questioner: Then what was the second-density form—what did it look like—that became earth-man in the third density? What did he look like in the second density?

Ra: I am Ra. The difference between second- and third-density bodily forms would in many cases have been more like one to the other. In the case of your planetary sphere the process was interrupted by those who incarnated here from the planetary sphere you call Mars. They were adjusted by genetic changing and, therefore, there was some difference which was of a very noticeable variety rather than the gradual raising of the bipedal forms upon your second-density level to third-density level. This has nothing to do with the so-called placement of the soul. This has only to do with the circumstances of the influx of those from that culture.

100.3 Questioner: Would Ra please comment?

Ra: I am Ra. As has been previously noted, the instrument has the propensity for attempting to exceed its limits. If one considers the metaphysical or time/space aspect of an incarnation, this is a fortunate and efficient use of catalyst as the will is constantly being strengthened. And, further, if the limitations are exceeded in the service of others the polarisation is also most efficient.

However, we perceive the query to speak to the space/time portion of incarnational experience, and in that framework would again ask the instrument to consider the value of martyrdom. The instrument may examine its range of reactions to the swirling waters. It will discover a correlation between it and other activity.

When the so-called aerobic exercise is pursued, no less than three of your hours, and preferably five of your hours, should pass betwixt it and the swirling waters. When the walking has been accomplished, a period of no less than, we believe, forty of your minutes must needs transpire before the swirling waters, and preferably twice that amount of your space/time.

It is true that some greeting has encouraged the dizziness felt by the instrument. However, its source is largely the determination of the instrument to remain immersed in the swirling waters past the period of space/time it may abide therein without exceeding its physical limits.

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