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When (in adaptation to the more direct Influence of Truth infusing the higher densities) we learn the whole—being expression of Love as that spontaneous Love of the One Infinite Creator, the very essence of Love tends to emanate impersonally as a global value, spreading without effort or special address to all quarters where it's received or not according to the specific will of every form. In this way its Presence doesn't become confused with the conditional presence of the myriad beings "positive" or "negative". Nor does its Presence become confounded with the mechanics of "give and take", which are all relative identifications of the mind (look again at what befalls Strieber in his mental efforts to specify the love—value he felt lurking in the worst of circumstances, notice the manner—common to the complex of 3rd—stage psychology that accepts the teaching of Love according to its lights—in which he winds the skein of complicated love—strands through a conceptual miasma of "owes" and "oughts", bewildered by just those ordinary terms of psychic bookkeeping). When considering the extraordinary deception woven about the circumstances of such abductions as Strieber's, we may wonder how it is that the entities involved don't simply use their obvious powers of illusion to mask their awful character, for in all the captious play—of—mirrors produced in relation to the principle of love, the actual ferocity and venomous character of the Crusaders seems to spring irrepressibly forward, thus in a sense almost requiring a tremendous expenditure of energy and time toward bullying some interpretation that belies the painfully obvious. The answer to this, also shows succinctly the real nature of the phenomenon with which we are dealing. The origin and informing character of these entities is, self—evidently, that of the density corresponding to (what esotericism knows as) the astral plane, and what esotericism knows of the astral plane clearly accounts for the transparency of their basic presentation, which, as we've noted, calls for an overlay of psychic subterfuge. The Law governing astral existence, requires the exteriorization of basic character in identifiable symbolic terms. All "form" in its astral origin wears its heart symbolically on its sleeve. It is for this reason that a physical object of apparently neutral character such as a knife, when perceived astrally may distort in dream—fashion into a recognizably malevolent entity, assuming a distinct persona in the manner of anthropomorphizcd objects in a Silly Symphony. The Strieber entities give the overpowering impression of malignancy, because that is their character; and by extending their essentially psychic, 4th—density being into physically perceptible range, they are merely spreading the compulsive "honesty" of the self-symbolizing Astral medium into twilight structures visible to eyes of flesh. (Such spontaneous, symbolic exteriorization functioning much like the Portrait of Dorian Gray, becomes progressively less reliable as an index of "moral valuation" the higher up the scale of densities we ascend; thus the luminous, angelic white entity Strieber encounters as a kind of harbinger of death in Transformation does not qualify by appearance as a positive manifestation It is of the Negative along with all the others, but it is a relatively rare presence in the corpus of the Strieber account, since it emanates from the Sth density of creative Mind. Thus it represents in its appearance the power to conceive and govern whole patterns of exteriorization. The Ra material discusses just this capacity of the Sth density Negative adepts to assume so fair a shape, and in fact the likelihood is altogether greater that higher—density entities either positive or negative who manifest in more "pleasing" human terms are 5th density beings able to modulate the matter of visible appearance according to inner conceptual requirements, rather than merely being able to regulate it from a point past its primary patterning and projection). 36 T-Bird_Vs_The_Flying_saucers.htm indivisible Value with fragmentary phases or preferred parts. The Portrait of Dorian's Grays Speaking With Forked Tongue