“Seth material” search engine (Jane Roberts)

(“I feel half massive, but half relaxed, too,” Jane said as we waited for the session to begin. “I feel an odd sense of frustration — or maybe just impatience is a better way to put it…. I think all of this psychic stuff that I’m half aware of has to be organized and expressed in our world — Seth, Cézanne, this book — so that we can make sense of the whole thing.”

When you are in touch with your psyche, you experience direct knowledge. Direct knowledge is comprehension. When you are dreaming, you are experiencing direct knowledge about yourself or about the world. You are comprehending your own being in a different way. When you are reading a book, you are experiencing indirect knowledge that may or may not lead to comprehension. Comprehension itself exists whether or not you have the words — or even the thoughts — to express it. You may comprehend the meaning of a dream without understanding it at all in verbal terms. Your ordinary thoughts may falter, or slip and slide around your inner comprehension without ever really coming close to expressing it.

Dreams deal with associations and with emotional validities that often do not seem to make sense in the usual world. I said before that no one can really give you a definition of the psyche. It must be experienced. Since its activities, wisdom and perception rise largely from another kind of reference, then you must often learn to interpret your encounter with the psyche to your usual self. One of the largest difficulties here is the issue of organization. In regular life, you organize your experience very neatly and push it into accepted patterns or channels, into preconceived ideas and beliefs. You tailor it to fit time sequences. Again: The psyche’s organization follows no such learned predisposition. Its products can often appear chaotic simply because they splash over your accepted ideas about what experience is.

Ruburt’s love for Joseph, his own purposes, and his growing questions, along with his interest in painting in general, triggered exactly the kind of stimulus that broke through conventional beliefs about time and knowledge. Ruburt tuned in to Cézanne’s “world view.” He did not contact Cézanne per se, but Cézanne’s comprehension of painting as an art.

If you are gifted, and want to be a musician, for example, then you may literally learn while you are asleep, tuning in to the world views of other musicians, both alive and dead in your terms. When you are awake, you will receive inner hints, nudges or inspirations. You may still need to practice, but your practice will be largely in joy, and will not take as long as it might others. The reception of such information facilitates skill, and operates basically outside of time’s sequences.