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DEaVF2 Chapter 12: Session 939, January 25, 1982 5/127 (4%) magical clouds approach singing Chapter
– Dreams, "Evolution", and Value Fulfillment: Volume Two
– © 2012 Laurel Davies-Butts
– Chapter 12: Life Clouds
– Session 939, January 25, 1982 9:48 P.M. Monday

[... 26 paragraphs ...]

Some would argue, however, over whether the next three characteristics on my list are assets of Jane’s, or hindrances. I believe that any of those can be either or both, depending upon circumstances. My position is that all of the qualities listed, by both Jane and me, represent creative portions of her as she is—and I accept them all.

[... 76 paragraphs ...]

“In those annals there is legend after legend, tale after tale, history after history describing civilizations that have come and gone, kings risen and fallen, and those stories have always represented c-u-l-t-u-r-e-s (spelled) of the psyche, and described various approaches used by man’s psyche as it explored its intersection with earthly experiences.

“Some mountain climbers, when asked why they climb a certain peak, respond: ‘Because the mountain is there to be climbed’—so the natural approach, the magical approach, is to be used because it exists, and because it represents an open doorway into a world of reality that is always present, always at the base of your cultures and experience. Theoretically at least, the magical approach should be used because it represents the most harmonious method of life (underlined). It is a way of living that automatically enhances all of your abilities and accelerates your comprehensions.

[... 3 paragraphs ...]

“In a manner of speaking, Ruburt’s physical condition represents the bruises, the wounds inflicted upon any individual in his or her long journey (long pause) toward a greater comprehension of life’s experience. In religious terms, you begin to glimpse a promised land—a ‘land’ of psyche and reality that represents unimpeded nature (again, all very intently).

[... 12 paragraphs ...]

Occasionally Jane will record a Sumari song when I’m out of the house; I may hear her play it later, but I don’t “bug” her about sharing it with me. With the increase in her symptoms her songs have become more subdued, more poignant. Although she seldom translates them into English, I know their subject matter. As Seth does, they represent one portion of her psyche offering reassurances to another more conscious portion, in our terms; they deal with her questioning of the reality she’s creating in the finest personal detail—her wanting to know why she’s made her choices, her determination to press ahead, her embracing of our beloved earth and our universe. Sometimes her singing carries from her writing room at the back of the house, through the kitchen, around the corner and down the hall into my studio. And sometimes I hear her voice break in mid-song. She is overwhelmed with her yearning. She stops singing.

[... 4 paragraphs ...]

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