75.14 ▶ Questioner: The instrument would like to know why twice at the “Benedictus” portion of the music that she practices did she experience what she believes to be a psychic attack?
Ra: I am Ra. This is not a minor query. We shall first remove the notations which are minor. In the vibrating, which you call singing, of the portion of what this instrument hallows as the Mass which immediately precedes that which is the chink called the “Hosanna” there is an amount of physical exertion required that is exhausting to any entity. This portion of which we speak is termed the “Sanctus.” We come now to the matter of interest.
When the entity Jehoshua* decided to return to the location called Jerusalem for the holy days of its people it turned from work mixing love and wisdom and embraced martyrdom which is the work of love without wisdom.
The “Hosanna,” as it is termed, and the following “Benedictus,” is that which is the written summation of what was shouted as Jehoshua came into the place of its martyrdom. The general acceptance of this shout, “Hosanna to the son of David! Hosanna in the highest! Blessed is he who comes in the name of the Lord!” by that which is called the church has been a misstatement of occurrence which has been, perhaps, unfortunate for it is more distorted than much of the so-called Mass.
There were two factions present to greet Jehoshua, firstly, a small group of those which hoped for an earthly king. However, Jehoshua rode upon an ass stating by its very demeanor that it was no earthly king and wished no fight with Roman or Sadducee.
The greater number were those which had been instructed by rabbi and elder to make jest of this entity, for those of the hierarchy feared this entity who seemed to be one of them, giving respect to their laws and then, in their eyes, betraying those time-honored laws and taking the people with it.
The chink for this instrument is this subtle situation which echoes down through your space/time and, more than this, the place the “Hosanna” holds as the harbinger of that turning to martyrdom. We may speak only generally here. The instrument did not experience the full force of the greeting which it correctly identified during the “Hosanna” due to the intense concentration necessary to vibrate its portion of that composition. However, the “Benedictus” in this particular rendition of these words is vibrated by one entity. Thus the instrument relaxed its concentration and was immediately open to the fuller greeting.
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