(03-06-2015, 05:48 AM)Bluebell Wrote: [ -> ]Quote:75.17 Questioner: How was the Orion entity able to act through this linkage of the “Hosanna?” Was this simply because of the mental distortion of the instrument at this period of time, because of that suggested by the music, or was it a more physical or more metaphysical link from the time of Christ?
Ra: I am Ra. Firstly, the latter supposition is false. This entity is not linked with the entity, Jehoshua. Secondly, there is a most unique circumstance. There is an entity which has attracted the attention of an Orion light being. This is extremely rare.
This entity has an intense devotion to the teachings and example of the one it calls Jesus. This entity then vibrates in song a most demanding version, called The Mass in B Minor by Bach, of this exemplary votive complex of sound vibrations. The entity is consciously identifying with each part of this Mass. Only thusly was the chink made available. As you can see, it is not an ordinary occurrence and would not have happened had any ingredient been left out: exhaustion, bias in belief complexes, attention from an Orion entity, and the metaphysical nature of that particular set of words.
Hi Bluebell,
Pretty confusing, huh.
I am totally extrapolating, but I got out of it that identifying with each part of the Mass and a bias in belief complexes leaves an opening for a negative entity. The Mass is basically a ritual of human sacrifice with communion, so maybe that is the "chink."
75.17 is Ra's summation for Don of a very in depth explanation he gave in 75.14:
Quote:75.14 Questioner: The instrument would like to know why twice at the “Benedictus” portion of the music that she practices 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 demeanor 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-honored 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.
Firstly, for the most part, Benedictus = Hosanna = Sanctus = Bach's Mass in B Minor. They are different parts of the song, and the "Benedictus" portion is the portion that Carla was struggling with. This is the chink. There were multiple components: The intensity required to sing that part of the song, which is complex and difficult and exhausting, the intensity with which Carla identifies with Jesus and the intensity of that part of the song that related to very specific moments in his path of martyrdom. This created the "chink" that allowed psychic attack.
thanks guys, it makes more sense now.
Also, the mass is wrong, according to Ra. Jesus wasn't greeted with hosannas but with scorn and derision by most and with hopes of an earthly king by a few. So when Carla was strongly identifying with Jesus at that point of the mass, she was seeing herself greeted with hosannas, which is not what happened to Jesus -- hence the chink between what she was visualizing and what really happened.
this is an example of how negative manipulates without infringing on the free will; even a momentary emotional embrace of martyrdom, opens a hole in the wall and welcomes the false-angel's greeting