For Biblical cross-references for all Sections: click here.
p1: Among the courtesy colonies of the various divisional and universe headquarters worlds, may be found the unique order of composite personalities…: The deletion of the comma after worlds is the only one of the committee’s recommendations that allows the reasonableness of the original but recommends the change because both publishers have long since adopted the change.
Morontia etymology: In general (m) material substance (mor) is like (on) this thing (-tia).
By Chris Halvorson: “that which is (-tia) akin to (on) matter (mor)”
Note also: mor–Danish origin 1930’s, refering to humus formed under acidic conditions.
p3: Havona etymology by Chris Halvorson: “the “new heaven” (Rev:21.1).” “-a = L. noun suffix (first declension, nominative) = U.B., general noun suffix, used to indicate the additional specific meanings of the coined name”
p16: Uversa etymology by Chris Halvorson: “the hub of the superuniverse that is the seventh expression of triune pattern (“U” is the 21st letter of the alphabet, and 21 equals 7 times 3. Hence, the headquarters worlds of the other superuniverses are Cversa, Fversa, Iversa, Lversa, Oversa, and Rversa. The “U” notation is also used in “Umajor the fifth” and “Uminor the third”.)” “versa = L., focus, hub (see endnote entitled “Versa”)”
masculine: metrical sequence of words (He wrote a verse.); also, versus (plaintiff versus defendant); feminine: poetical character (She wrote in verse.); also, vice versa (vice = in the place of another + versa = focus, hub)
“Versa is the nondirectional aspect of “a turning”, that is, the hub; while versus is the directional aspect, the rotation.”
p21: Urantia etymology by Chris Halvorson: “specific: Urantia = (y)our heavenly place (i.e., in the cosmos)” “-tia = noun-forming suffix < -t- of L. past participle stem + -ia (cf., -tion and -ion)” “U.B.: “-tia” is indicative of impersonal, while “-ia” is more personal”
Section 1: The Celestial Musicians
melody is used eight times in 44:1. The other three occurrences are at: (48:7.12), (132:6.3), and (195:7.20).
p11: Jerusem etymology by Chris Halvorson: “the “new Jerusalem” (Rev:21.2).
p15: melody has power a whole world to transform “Musical innovation is full of danger to the State, for when modes of music change, the fundamental laws of the State always change with them.” ― Plato
p1: beyond human appears eight times, followed six times by comprehension and once by understanding and imagination: (8:2.4), (12:7.12), (14:3.8) (17:1.6), (38:2.3), (42:10.7), (44:1.1), (48:2.20).
Section 2: The Heavenly Reproducers
Section 3: The Divine Builders
Section 4: The Thought Recorders
p3: Nebadon etymology by Chris Halvorson: “the first (a) nebular (neb-) upland (don) (The local universe level is the local upland relative to the lowlands where mortals begin their ascension careers in the Milky Way spiral nebula.).” “don < O.E., dun = n., down = upland”
p8: Edentia etymology: The specific, original and/or archetypal (E) edenic (eden) place (-tia).
By Chris Halvorson: “the (eden)ic place (-tia)”
Section 5: The Energy Manipulators
p5: divine energy is used five times: (42:1.5), (44:5.5), (51:1.3), (94:6.8), (145:3.14)
Section 6: The Designers and Embellishers
Section 7: The Harmony Workers
Section 8: Mortal Aspirations and Morontia Achievements
p4: Mota etymology by Chris Halvorson: “[inherent] motion (Mota–the transcendent harmonization of science, philosophy, and religion–is innately dynamic, moving.)”