I am Ra. I greet you in the love and in the light of the One Infinite Creator. We communicate now.
Could you first please give me the condition of the instrument?
I am Ra. The physical distortions of the instrument remain serious.
Further, the vital energies of this mind/body/spirit complex are much diminished, although acceptable for the needs of this working. This is to be noted as the lowest, or most distorted, vital reading of this all-important energy.
The mental and mental/emotional distortions are as last seen.
We find the will of the instrument, having been unwisely used, to have encouraged the distortions of vital energy. It is well that the instrument ponder this.
What is the situation with respect, and condition with respect, to the physical problems with the digestive portions of the body that the instrument had previously?
The yellow-ray— We must correct ourselves. I am Ra. Please expel breath across this instrument’s chest area.
[This was done as directed.]
I am Ra. The channel is now satisfactory. We find the yellow-ray, chemical body of the instrument to be exhausted but to be attempting the improvement by action such as exercise and diet.
We may state that the infection has not completely left the body complex, although it is far less virulent.
The instrument asks the question why she lost her joy in the recent past? Would Ra comment, please?
I am Ra. The instrument made a free-will decision not to address the physical catalyst causing great pain by means of the allopathically prescribed chemical compound, which the instrument was sure would be efficacious due to its reliance upon the suggestions of Ra.
Thus the catalyst was given in a more complete form. The outer service to others became nearly impossible, causing the entity to experience, once again, the choice of the martyr; that is, to put value in a fatal action and die, or to put value on consciousness of the creation and of the One Creator and, thereby, live. The instrument, through will, chose the latter path.
However, the mind and mental/emotional distortions did not give the support to this decision necessary to maintain a state of unity which this entity normally experiences and has experienced since its incarnation’s beginnings.
Since this catalyst has been accepted, the work begun to remove distortions blocking the indigo ray might well be continued apace.
Could Ra recommend work appropriate for removing indigo-ray blockage?
I am Ra. We cannot recommend for the general situation, for in each case the distortional vortex is unique. In this particular nexus, the more appropriate working is in the mental and mental/emotional powers of analysis and observation. When the strongest and least distorted complex is set in support, then the less strong portions of the complex shall be strengthened.
This entity has long worked with this catalyst. However, this is the first occasion wherein the drugs to dull the pain that sharpens the catalyst have been refused.
What is the present situation with respect to our fifth-density, service-to-self oriented companion?
I am Ra. This entity has, for some period of your space/time, been at rest. However, it has been alerted to the workings taking place and is soon to be your companion once again.
Can Ra recommend anything that the instrument can do, or that we can do, to improve any of the energies of the instrument?
I am Ra. This is previously covered material. We have outlined the path the instrument may take in thought.
I didn’t mean to cover previously covered material. I meant to add any of this to specifically focus on at this time, the best possible thing that we or the instrument could do to improve these energies, the salient activity.
I am Ra. Before responding we ask your vigilance during pain flares as the channel is acceptable but is being distorted periodically by the severe physical distortions of the yellow-ray, chemical body of the instrument.
Those salient items for the support group are praise and thanksgiving in harmony. These the group has accomplished with such a degree of acceptability that we cavil not at the harmony of the group.
As to the instrument, the journey from worth-in-action to worth-in-esse is arduous. The entity has denied itself in order to be free from that which it calls addiction. This sort of martyrdom—and here we speak of the small but symbolically great sacrifice of the clothing—causes the entity to frame a selfhood in poorness which feeds unworthiness, unless the poverty is seen to be true richness.
In other words, good works for the wrong reasons cause confusion and distortion. We encourage the instrument to value itself and to see that its true requirements are valued by the self. We suggest contemplation of true richness of being.
Is there anything else that either we or the instrument can do that would specifically work on the vital energy to increase it—of the instrument?
I am Ra. We have come up against the full stop of free will.
In that case I have a few questions on Card Seven in order to finish off our first run-through of the archetypes of the mind. There is a T with two right angles above it on the chest of the entity in Card Seven. We have guessed that the lower T has to do with the possibility of choosing either path in the transformation, and the upper two angles representing the Great Way of the left- or the right-hand path in a mental transformation that makes the change from space/time into time/space, you might say.
This is difficult to express. Is there anything correct [chuckles] in this guess?
I am Ra. Yes.
Would Ra comment on that?
I am Ra. The use of the tau and the architect’s square is, indeed, intended to suggest the proximity of the space/time of the Great Way’s environment to time/space. We find this observation most perceptive.
The entire mood, shall we say, of the Great Way is, indeed, dependent upon its notable difference from the Significator. The Significator is the significant self, to a great extent but not entirely, influenced by the lowering of the veil.
The Great Way of the Mind, the Body, or the Spirit draws the environment which has been the new architecture caused by the veiling process and, thusly, dipped in the great, limitless current of time/space.
I am guessing that the wheels on this chariot indicate the ability of the mind to be able now to move in time/space. Is this correct?
I am Ra. We cannot say that the observation is totally incorrect, for there is as much work in time/space as the individual who evokes this complex of concepts has assimilated.
However, it would be more appropriate to draw the attention to the fact that although the chariot is wheeled, it is not harnessed to that which draws it by a physical or visible harness. What then, O student, links and harnesses the chariot’s power of movement to the chariot?
I’ll have to think about that one. Unless— I’ll come back to that.
We were thinking of replacing the sword in the right hand with the magical sphere and a downward scepter in the left hand (similar to Card Five, the Significator) as more appropriate for this card. Would Ra comment on that, please?
I am Ra. This is quite acceptable, especially if the sphere may be imaged as spherical and effulgent.
The bent left leg of the two sphinxes indicates a transformation that occurs on the left that doesn’t on the right, possibly an inability in that position to move. Does this have any merit?
I am Ra. The observation has merit in that it may serve as the obverse of the connotation intended.
The position is intended to show two items, one of which is the dual possibilities of the time-full characters there drawn. The resting is possible in time, as is the progress. If a mixture is attempted, the upright, moving leg will be greatly hampered by the leg that is bent.
The other meaning has to do with the same right angle, with its architectural squareness, as the device upon the breast of the actor.
Time/space is close in this concept complex, brought close due to the veiling process and its efficaciousness in producing actors who wish to use the resources of the mind in order to evolve.
I am assuming that the skirt is skewed to the left for the same reason that it is in Card Number Four, indicating the distance service-to-self polarized entities keep from others. And I am also assuming that the face is turned to the left for the same reason that it is in Card Number Five, because of the nature of catalyst. Is this roughly correct?
I am Ra. Please expel breath over the breast of the instrument from right to left.
[This was done as directed.]
I am Ra. That is well.
Your previous supposition is, indeed, roughly correct.
We might also note that we, in forming the original images for your peoples, were using the cultural commonplaces of artistic expression of those in Egypt. The face is drawn to the side most often, as are the feet turned. We made use of this and, thus, wish to soften the significance of the side-long look. In no case thus far in these deliberations, however, has any misinterpretation or unsuitable interpretation been drawn.
Our appropriate time for working right now, I believe, is close to a close, and I would like to ask… that is, the two times we had to expel breath… what is the problem, or what is— Why in this session do we have to do that, when we didn’t in most others?
I am Ra. This instrument is unaware of the method used to contact Ra. However, its desire was particularly strong at the outset of this working for this working to transpire. Thus it inadvertently was somewhat premature in its leaving of the yellow-ray, physical body.
In this state the object was dropped upon the instrument which you call the tie-pin microphone. The unexpected contact caused injury of the chest muscles, and we would advise some care depending from this working to avoid stress so that this injury may heal.
There is a metaphysical component to this injury and, therefore, we wished to be quite sure that all portions of the environment were cleansed. Since this place of working has not its usual level of protection, we used your breath to so cleanse the environment which was at risk.
Is the reason for the lack of usual level of protection the fact that it has been a considerable time since we have worked in here?
I am Ra. No.
What is the reason?
I am Ra. The lack of regular repetition of the so-called Banishing Ritual is the lack of which we spoke.
From this I assume that it would be most appropriate to daily perform the Banishing Ritual in this room. Is this correct?
I am Ra. That is acceptable.
I don’t want to overtire the instrument. We’re running close to time. I will just ask if there is anything we can do to improve the contact or make the instrument more comfortable, or if there is anything else that Ra could state at this time that would aid us?
I am Ra. We find the alignments quite fastidiously observed. You are conscientious. Continue in support, one for the other, and find the praise and thanksgiving that harmony produces. Rest your cares and be merry.
I am Ra. I leave you glorying in the love and in the light of the One Infinite Creator. Go forth, therefore, rejoicing in the power and in the peace of the One Infinite Creator. Adonai.