1 result for (book:tps1 AND session:479 AND stemmed:caus AND stemmed:effect)

TPS1 Session 479 (Deleted) April 30, 1969 5/70 (7%) 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

[... 7 paragraphs ...]

The added monthly count on his part was the offshoot of the work he has done thinking of abundance. Granted the effects were not large, but they were definite. He did not overconcentrate, you see. He sent out the thoughts with full confidence, but in almost a playful manner, thinking merely of extra money.

[... 2 paragraphs ...]

He did not think “How miserable my teeth will look.” He thought instead briefly, effectively and playfully, “When Tam comes my teeth will be cleaned. No matter what she says, there will be an appointment for me this week.”

[... 1 paragraph ...]

This will effectively have him concentrate his attention where it belongs, while the inner self follows through on the suggestion which he has given.

[... 12 paragraphs ...]

On the other hand her lawyer may say something to your landlord that will make him make an angry retort that will then cause the buyer to hold off. She may not buy, believing that a parking area will be set up to drive off the sort of tenants she wants; and then after this proscribed time of contract the parking area itself may well fall through, as I told you. These are the probabilities now, in which case your landlord will still own the property, and it will be relatively unchanged.

[... 10 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.

[... 32 paragraphs ...]

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