“Seth material” search engine (Jane Roberts)

Now, you are here for one particular reason this evening whether you know it or not, and it is because you knew our new friends, the Greek twins (Valerie and Vanessa) and so you came when they attended class. Now you were at one time, in the same area given as for the twins, and give us a moment here. You were then a music teacher, teaching the flute mainly, but in the back of your mind you had a great plan which you were never able to bring to fruition in that particular life. And you dreamed a great dream and the dream had to do with an instrument called the piano, and you wondered how you could bring this instrument about and how it could be made and how it would work. And yet in your mind you heard the music. And when you taught the flute, in the back of your mind always, was the idea of the piano. So you tried to make the flute do things that the flute could never do.

You were a stern teacher and yet the love of music in that life sustains you often in this life. Now give us time. You were, in that life, a male. Now this was originally in a province three days away from Athens. Later your reputation spread and you moved to Athens. You had an earlier life at the time when the most important Greek plays were being written. In that life, the earlier one, you were an actor.

You dealt strongly with martial music and, in these terms, the music was used as a method of discipline rather than for freedom or spontaneity. You found that music had many purposes and uses and could be used in many ways, not only to inspire but to incite. To inspire love or to incite to violence. 1832 there to 1856, a very short life, under I believe a czar, and during this life, you met your present husband who was a young girl, the brother (sister?) of one of your students. This brief life taught you strongly, however, that music, as a portion of creativity, could be violently used by the state and by authority. You were at the time, extremely dogmatic, and you did not allow yourself full freedom with your instrument or with your life. You needed to know, however, the powers of music and the ways in which it could be used so that you would use it wisely, so there is no need to brood.

The music represented your main interest then in several lives, but behind this has always been an interest in emotions translated into some kind of creativity such as music or art; but also, at times an oversusceptibility to emotions so that they drove you, and you could find no escape from them. And you would take one emotion and follow it with great obsession until you found where it led. You were not able to separate yourself from your emotions and to some extent you are learning that now. You are learning that you must. They are not horses to drive you.

You visited one place that was also a scene from a past experience. This from a life in England before the German experience, and this a long life in which you were a woman and unmarried. You were cultured for the times but without way, and made a living writing letters for other people. You had a fondness for music but all your life you copied the notes and letters of others. You learned discipline, for to a large extent you did not allow yourself to express your own creativity but put yourself at the service of the communication of others. You did not allow yourself, even, to communicate through music.

(To Louise.) Now, if you want to cough have a good one and do not feel embarrassed. There is nothing worse than trying to cough and trying not to at the same time. Now, I will let you all take a break and you may cough to your heart’s content. I did not mean to give the suggestion if you do not have to cough.

Each of you automatically heal yourselves day by day, as you know. Cells die and are born. You renew your bodies every seven years, all without your conscious knowledge. You use the energy of the universe to heal yourselves constantly, but you have very definite conceptions of how this healing can take place and what is possible and what is not possible. You expect the cells of your body to be replaced. You expect your image to continue day by day, although the physical matter of your image today has not one atom or molecule within it that was a portion of your image ten years ago. The bodies that you had ten years ago are dead and gone, and you never missed them, and you do not feel dead.

There is not one of you present in this room who cannot contact your own entity and have that entity heal your physical being, for it can use its abilities quite freely. It does not have your present hang-ups. It does not think it is fat, it does not think it has a bad neck. It does not think it has a bad foot. It can erase your difficulties as easily as you can erase a mistake on a painting, easily and swiftly and beautifully and well.

Now, to some extent, all of you take advantage of these abilities or you would not have physical bodies to begin with. They simply would not last that long, in your terms. But when you cannot do this for yourself, and when your own misconceptions hold you back from using your own abilities, then there are others who can reawaken your own energies and direct them to your advantage; who can meet you and speak with you when you are in more auspicious states than the one you usually call conscious— When you are at your most creative and alert, in other words, when you are asleep. These others can then speak to you and communicate with you, illuminate you as to the reasons behind your difficulty and help you erase that difficulty.

Someday I will change this one’s features (meaning Jane) so you will really have something to look at.

(To Rachel) The one over here on the couch who winks at me in such an infamous manner, you also have healing abilities. In the main you direct them outward toward others and when you have a better opinion of yourself, you can use them for your own benefit. Right now you do not think you are worthy. Not only does she wink but she sniffles her nose at me. Now these are abilities you can learn to use and develop.

I have seen many starers in my day, but I have never seen a starer such as this one, and if there are holes in our poor friend Ruburt’s back, when the session is over then you had better stuff them with cotton, but know where they came from. Now when I choose to stare at you, you will know that you have been stared at. I will have more to say about healing this evening, but I am going to let you take a break so that our friend here can beat her weary way home.

Now, I will tell you a children’s tale. Once upon a merry time, on a distant star, there lived a fine people. They were not physical people, in your terms, and if you traveled to that star now in your spaceships you would not see them. You would walk through their fields and think that the land was barren. You would land in your spaceships and though the whole populous came out to greet you, you would see no one.

Now in this children’s tale pretend with me. Pretend with me that you sit here in a physical reality in one tiny unspeakably and unutterably small dot upon the physical planet called Earth. Pretend with me that you are presently sitting in a room in a town called Elmira, in a state called New York, that you are seated in a circle and that you are listening to me speak, and pretend with me that at the same time you are in a circle about me in another space and another time. Pretend with me that, in your terms, we were in another circle and in another star in a past inconceivably distant so that your physical brain cannot imagine it and that together, being nonphysical, we had a great dream. We imagined a physical reality and we imagined this moment and this time and there is no end to this children’s tale. There is never any end to a children’s tale. It is only adults that insist upon beginnings and endings. And imagine also, therefore, that within yourselves now are other far more wise selves and that within your eyes are other eyes as old as mine and other selves quite as ancient and quite as new and that these selves, within yourselves, look out at me and wink and in winking know what they know.

(Louise wondered why no one gave Jane a more explicit statement of what Seth had been saying and Rachel said he interrupted.)

(To Rachel.) This one, this one over here. You know that I enjoy your coming. Then enough said.

(To Arnold.) Even to this one over here.