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TPS1 Session 479 (Deleted) April 30, 1969 8/70 (11%) parking Halliday sell landlord painting
– The Personal Sessions: Book 1 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Session 479 (Deleted) April 30, 1969 9:10 PM Wednesday

[... 11 paragraphs ...]

Tell him then again, easy does it. The imagination is all important. Even be ridiculous with the use of the imagination. Have him imagine for example pillow fights with you, or wrestling on the floor with you. Now it is extremely important that his conscious attention be elsewhere after he has given his suggestions. I suggest the following: that he worked at his writing certainly no less than four hours a day, preferably five; and that a portion of this time be given to poetry.

[... 2 paragraphs ...]

The prayer series should be continued. In this period let the conscious suggestions be given with emotion and feeling, and then have him forget all about them. He does not need to give himself conscious suggestions every fifteen minutes. This is too much like clock watching.

[... 12 paragraphs ...]

(This statement of Seth’s has been more than vindicated. First a mutual friend of Jane’s and F. Halliday explained what was intended by the parking lot. This on Thursday, May 1. F. Halliday could not believe the parking lot idea, saying she had been told a “circular driveway” was all that had been planned, curving around the doctor’s house next door, and not disturbing much property. She had no idea that much of the yard on the side of the house, from the street to the far back fence, had been earmarked by our landlord for sale to Dr Levine for a parking lot.

[... 8 paragraphs ...]

Once begun it contains its own motive power then, repelling those elements that do not fit in with its sense of unity, and attracting those that do. All of this goes on before any event appears in physical terms, in the same way that much creative activity goes on hidden in your mind, behind each movement of your hand as you apply paint with a brush to a painting. You see the color and the brush strokes but you do not see the inner workings that led you to produce those particular brush strokes. You know they are there, the inner meanings, but you do not see them in physical terms. You see instead their effects in the color, the brush strokes and the painting.

[... 1 paragraph ...]

You then let the motive power within take over but you do not try to bully it. If your conscious mind is to be a foreman he must be one who is easy to get along with, and not so authoritative that he is yelling demands all the time. He is to be a gentle director and not a bully.

[... 2 paragraphs ...]

It is your contact with All That Is, but it is up to the conscious mind of the present individual as to how much its abilities will be used and in what manner. The present individual is to learn. The inner self therefore does not overstep the boundaries of the ego, go against the ego’s wishes, or try to force (underline) the ego. It is up to the ego to learn how to use these vast potentials that lie within the inner self, how to use them to help itself and others.

If the inner self took over completely therefore the present personality would not learn on its own. The inner self does offer advice, intuitional help, inspiration, all of these things, but it does not force the ego to accept them.

[... 6 paragraphs ...]

Be careful of the suggestion “I will sell all the paintings that I want to sell,” for you are setting up conditions and limitations. Either say “I will sell all my paintings,” or “I will sell these paintings,” referring to specificness. Do you understand the difference?

[... 19 paragraphs ...]

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