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80.10 Questioner: Now, the fifteenth archetype, which is the Matrix of the Spirit, has been called the Devil. Can you tell me why that is so?
Ra: I am Ra. We do not wish to be facile in such a central query, but we may note that the nature of the spirit is so infinitely subtle that the fructifying influence of light upon the great darkness of the spirit is very often not as apparent as the darkness itself. The progress chosen by many adepts becomes a confused path as each adept attempts to use the Catalyst of the Spirit. Few there are which are successful in grasping the light of the sun. By far, the majority of adepts remain groping in the moonlight and, as we have said, this light can deceive as well as uncover hidden mystery. Therefore, the melody, shall we say, of this matrix often seems to be of a negative and evil, as you would call it, nature.
It is also to be noted that an adept is one which has freed itself more and more from the constraints of the thoughts, opinions, and bonds of other-selves. Whether this is done for service to others or service to self, it is a necessary part of the awakening of the adept. This freedom is seen by those not free as what you would call evil or black. The magic is recognized; the nature is often not.
88.10 Questioner: Our publisher requests pictures for the book, The Law of One, that is going to press at this time. Would you comment on the advisability, benefit or detriment, magical or otherwise, of us using pictures of this particular setup, the instrument, and the appurtenances in the book?
Ra: I am Ra. The practical advisability of such a project is completely a product of your discrimination. There are magical considerations.
Firstly, if pictures be taken of a working the visual image must needs be that which is; that is, it is well for you to photograph only an actual working and no sham nor substitution of any material. There shall be no distortions which this group can avoid any more than we would wish distortions in our words.
Secondly, it is inadvisable to photograph the instrument or any portion of the working room while the instrument is in trance. This is a narrow-band contact and we wish to keep electrical and electromagnetic energies constant when their presence is necessary and not present at all otherwise.
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