“Seth material” search engine (Jane Roberts)

(The data re the paintings—Bega—Theodore M., was interesting, etc. On July 17, Theodore purchased the painting of Bega as designated by Seth. On July 16, Ned and Sue Watkins bought the oils of Charlie Painter, the dream hands, and Moses.

([Theodore:] “That is what I’m doing.”)

([Theodore:] “Is that Bega on the wall?”)

([Theodore:] “You are on the wall.”)

Now, I will tell you (Theodore) something. Bega is there and I will let you tell me which portrait is his. You may ask Bega or tell me. But you did not pick the correct portrait. (Theodore commented that one was “too much Hebrew.”)

(Theodore holding up a portrait.) That is not Bega! I want you to seriously consider each one of the paintings and tell me which one is Bega!

([Theodore:] “The one I thought was Bega was actually Ruburt.”)

Now. What is your (Theodore) intuitive feeling? Now I want you to look at the portrait. Close your eyes. How much reality does the portrait have for you? Can you see it in your mind’s eye?

([Theodore:] “Yes, I can see it with the feeling of a friend.”)

Now, you see what you are willing to see, and it is stupidity to consider suggestion as the result or the cause of what you see. It is stupidity in class to worry that suggestion would cause a given result—for suggestion causes whatever you see. You form your physical reality through suggestion and expectation. You experience what you expect to experience at a subconscious and a conscious level. And therefore, as Ruburt is very careful that suggestion is not involved, so he has also had you be overly cautious, and there have been many opportunities in class that you have missed for this reason—and these are the bets that I have spoken about earlier this evening. You have the ability to see more than you saw and you have the ability. You enjoyed your passivity (to Ned) to the point of an enjoyous giving-up; and instead, you see, there is a point within passivity where you are passively alert. And you went beyond the point and lost what you might have seen. As our friend here went beyond the point (referring to Theodore), looked at the portraits and consciously—for you did not make an original, intuitive, judgment—but consciously looked at these portraits in terms of nationality, age and all the requirements that you thought of.

It is a portion that has been physical. It is a portion that can understand your (Theodore) being overwhelmed with work; it is a portion that can understand your being full with child (Sue); it is a portion that can understand the times when you wanted to leave physical reality (Ned); it is a portion that can understand the part of you (Sally) that wanted to be a star; it is a portion that can understand the part of you that wanted to conquer and is afraid to conquer (Brad); it is a portion that can understand the guilt you (Rose) feel for no reason. It is a portion that can understand the aspirations that you (Lydia) were unable to fulfill and if you have fulfilled them, you would not be looking into the subjects that you are looking into now. You would not feel the need to look for answers. It is a part that can understand why you (Vera) have so related to this man; it is a part that can understand why the five-and seven-and eight- year-old girl that you were has related to this man and not independently gone on. It is a part that can understand why you let your aspirations go (Theodore).

(Present: Sue and Ned Watkins, Theodore Muldoon [banker], Sally Benson [librarian], Brad Lanton [artist], Rose Cafford [older, grandmotherly], Lydia Dobbs [candy store owner], Vera Muldoon, Florence McIntyre [school teacher], Rachel Clayton [secretary].)