“Seth material” search engine (Jane Roberts)

(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.

You were, in the second life mentioned, an uncle to the twins. In the beginning you were stricken by poverty, but taken in by a wealthy man in a town within this province. There you performed as a young man household chores but learned the flute from the younger son of the family. Early you became far more proficient than he was. You were given his flute, and he did not take kindly to this fact. You used the flute to free yourself from the household and your position. You took with you two nephews. For some years, however, while you were financially secure yourself, you could not support them, and they were let out to the house of another wealthy man.

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.

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.

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.

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.

And so, in this children’s tale, that is given to you in parable and in symbol, you came to have your being and yet when this universe, as you know it, was then brought into existence, you had to forget momentarily where you came from and you had to be created in flesh so that you could experience, in flesh, this new portion of creativity and so that you could, in your turn, create from that of which you were physically made and so you forgot your heritage, on purpose in a way. And you found yourself upon a physical planet and all the stars blazed on, and you opened your eyes and found infinite possibilities and a virgin physical reality that you could shape to your heart’s desire and in which you could give your creativity full rein. And those from whom you originated watched and when great clouds scurried across your primitive skies in those days those who had originated you came down and you saw them and wondered.

(Rachel was surprised at Seth’s smiling.)

(To Rachel.) Yes, your date was correct (1841).

([Arnold:] “Seems as though it was undeserving praise though.”)

It was not undeserving praise. You simply became too used to it. My heartiest wishes to you all and a fond good evening.