“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 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.

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.

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.

I will have you know I would not do such a thing and my performance right now proves I would never do such a thing as you can all tell.