“Seth material” search engine (Jane Roberts)

Now I bid you all good evening, and I bid a particular good evening to an old friend who has not been here in some time.

(To Rose C.) Now this friend would like some information, and she has wanted it for some time. Ruburt knows this also. Ruburt also knows that our friend has wondered often why the information was not given. Now let us take a moment. There were reasons, incidentally, why you were not given the information earlier and the reasons should be apparent to you, if you think about the matter for you have a tendency to brood. You brood about the experiences of this life, and then you want me to give you information about five other lives so you can brood five times as much. Now it matters not what information you are given for unless you change your attitude you will find something there to brood upon. So I will give you a few goodies and hold back some other information until you can tell me that your attitude has changed.

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.

In the third quarter of your life there was some strong physical difficulty that prevented you from plying your trade, and during this period more and more you began to emphasize in your mind the reality of this strange instrument called the piano, and in your mind you composed for it. You were connected with a man named Aurelius. He was a statesman and you were for some time connected with his household. Your music was your god and your purpose for living. You gave it everything that you had, and in 18th-century Germany you became a well-known pianist. Now give us a moment. The name appears to be—the last name Ramburg, the first name, I believe, though I am not as certain, Marc. Now your middle name was Aurelius and it was a throwback. There was a small town near Hamburg and here you were a teacher of music, and a pianist in a school that seemed to be connected with a gymnasium or the school was called a gymnasium.

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.

You feel very alive, indeed. These things you take for granted but you form your own image, and you form them in consistent belief with those ideas that you have. And if you believe that you have a bad gall bladder, for example, and if you do not discover the reasons behind the difficulty you will faithfully reproduce that faulty gall bladder with every new formation of your physical image. And it does not occur to you that as your body is completely transformed within each seven years, so there is no reason at all to reproduce it each time with the old ailment. You can, indeed, heal yourselves but you must realize that you can do so in order to do it yourself effectively.

This is your break but I have a comment to make in your break, and it is this. You are responsible for your health as well as for your illnesses. You form your physical body according to your inner conception of what you are at any given time. The word psychosomatic, therefore, is misleading to some extent.

If I did not care I would not spend so much time talking to you. Now, why is it that when I take the time and effort, because I like you and take your questions into consideration, that you think I do not like you. It must be that this voice is not that melodious. Now, if you had to speak through someone else instead of through your own voice box, you would find, indeed, that there were many difficulties involved and besides it is fun for me to get you so upset.

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.

In this very, very distant time, these people who were very gifted, and are still very gifted, these people looked about them. They had a dream. They were, in a strange way, mathematicians and scientists, but in a way that had nothing to do with physical space or physical theories, and they imagined out of their great power, a dimension of reality in which there were trees and fields and physical beings with physical bodies; skies that were blue; water that fell down from the sky. And out of their great creativity and from themselves because, in your terms, in your terms, they were a race of gods. They conceived a dimension of reality in which these things would, indeed, exist and from themselves they sent out portions of their own entity and consciousness. And when I say that they did this, they did it joyfully and with a great exuberance and yet, also, they felt this portion of their own consciousness leave them and escape from them and so, to some extent, they cried to see a portion of themselves forever leave and yet they did this that you might have existence and song.

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.

(After break:) I will say good evening but what information you get here increases the nature of reality as you know it and frees you from time. Your experience during these classes is far different than your ordinary experience for you learn more in a short period of time than you do at any other time, except again, when you are sleeping.

(To Valerie and Vanessa.) I will have more to say to our Greeks here as time goes by.