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NotP Chapter 1: Session 755, September 8, 1975 6/51 (12%) psyche canvas brushstroke artist greater
– The Nature of the Psyche: Its Human Expression
– © 2011 Laurel Davies-Butts
– Chapter 1: The Environment of the Psyche
– Session 755, September 8, 1975 8:59 P.M. Monday

[... 11 paragraphs ...]

Now if you are looking for simple definitions to explain the psyche, I will be of no help. If you want to experience the splendid creativity of your own being, however, then I will use methods that will arouse your greatest adventuresomeness, your boldest faith in yourself, and I will paint pictures of your psyche that will lead you to experience even its broadest reaches, if you so desire. The psyche, then, is not a known land. It is not simply an alien land, to which or through which you can travel. It is not a completed or nearly complete subjective universe already there for you to explore. It is, instead, an ever-forming state of being, in which your present sense of existence resides. You create it and it creates you.

[... 4 paragraphs ...]

These magical brushstrokes, however, are not simple representations on a flat surface, but alive, carrying within themselves all of the artist’s intent, but focused through the characteristics of each individual stroke.

If the artist paints a doorway, all of the sensed perspectives within it open, and add further dimensions of reality. Since this is our analogy, we can stretch it as far as we like — far further than any artist could stretch his canvas (leaning forward humorously). Therefore, there is no need to limit ourselves. The canvas itself can change size and shape as the artist works. The people in the artist’s painting are not simple representations either — to stare back at him with forever-fixed glassy eyes, or ostentatious smiles (again humorously), dressed in their best Sunday clothes. Instead, they can confront the artist and talk back. They can turn sideways in the painting and look at their companions, observe their environment, and even look out of the dimensions of the painting itself and question the artist.

[... 6 paragraphs ...]

Now: If you are confused, that is fine — for it means that already we have broken through conventional ideas. Anything that I say following this analogy will seem comparatively simple, for by now it must appear at least that you have little hope of discovering your own greater dimensions.

[... 3 paragraphs ...]

(10:20.) So Ruburt’s subjective perspective opens up because of his desire and interest, and discloses my own. He opens up a door in himself that leads to other levels of his being, but a being that cannot be completely expressed in your world. That existence is mine, expressed in my experience at another level of reality, so I must write my books through Ruburt. Doors in the psyche are different from simple openings that lead from one room to another, so my books only show a glimpse of my own existence. You all have such psychological doors, however, that lead into dimensionally greater areas of the psyche, so to some extent or another I speak for those other aspects of yourselves that do not appear in your daily context.

[... 18 paragraphs ...]

As you read this book, you are also immersed in such intimate physical experiences. Do not consider them as separated from the greater reality of your being, but as a part of it. You do not exist outside of your psyche’s being, but within it. Some of you may have just put children to bed as you read these lines. Some of you may be sitting at a table. Some of you may have just gone to the bathroom. These mundane activities may seem quite divorced from what I am telling you, yet in each simple gesture, and in the most necessary of physical acts, there is the great magical unknowing elegance in which you reside — and in the most ordinary of your motions, there are clues and hints as to the nature of the psyche and its human expression.

[... 2 paragraphs ...]

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