View another random question/answer
74.3 Questioner: Could you please describe the trance state as I am somewhat confused with respect to how, when in trance, pain can affect the instrument since I was of the opinion that there would be no feeling of pain of the bodily complex in the trance state?
Ra: I am Ra. This is correct. The instrument has no awareness of this or other sensations. However, we of Ra use the yellow-ray activated physical complex as a channel through which to speak. As the mind/body/spirit complex of the instrument leaves this physical shell in our keeping it is finely adjusted to our contact.
However, the distortion which you call pain, when sufficiently severe, mitigates against proper contact and, when the increased distortion is violent, can cause the tuning of the channel to waver. This tuning must then be corrected which we may do as the instrument offers us this opportunity freely.
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 polarization 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.
The original Law of One books are copyright ©1982, 1984, 1998 L/L Research. The Ra Contact books are copyright ©2018 L/L Research and Tobey Wheelock.
This site copyright ©2003–2025 Tobey Wheelock.
Questions? Comments? Email me: tw at law of one dot info.
