“Seth material” search engine (Jane Roberts)

(No session was held for July 8th, as scheduled. Tam Mossman, Jane’s editor at Prentice Hall, called this morning to say that the first copies of her book, The Seth Material, have arrived at Prentice Hall from the printer. He’s mailing a book to Jane today.

(In Chapter Eight, Seth had said this was my way of trying to see models for my paintings. I hoped to see something really good this evening now that I was prepared, but nothing developed. The only aftereffect was a slight headache, as before, and this soon passed.

(Maybe, I thought, the experience was a delayed reaction to the projection suggestions. Just before the session I asked my pendulum a few questions — keeping in mind that I wasn’t so sure this technique should be used to explore other than physically oriented data. Usually I get excellent results with the pendulum; I learned now that the visual-interference effects had been caused by my unsuccessful attempts to perceive a thought-form sent out by a survival personality. This backed up the reasons given by Seth, then, for the eye phenomenon. Usually we use the pendulum to reach information that is just below normal waking consciousness.

(With this explanation, I didn’t feel it necessary to ask Seth about the experience. I did hope he would comment on it, but he did not…. Jane and I were both ready for the session ahead of time, for a change.)

(“Good evening, Seth.”)

(Not long after these sessions began, several years ago, Seth told Jane and me that the three of us had experienced lives in Denmark in the 1600’s. Ever since then I’ve thought my interest in the art of Western Europe for that same period, embracing the work of Rembrandt and Vermeer, Van Dyke, and Rubens, et al., more than coincidental. I mentioned to Jane now my curiosity as to whether my artistic career had any connection with my Denmark life. I wanted to know my life span then, also.

There will be some more material in this book dwelling specifically upon reincarnation, but here I want to point out that in this time of choosing between lives, many more issues are at stake than a simple matter of proposed rebirth.

(9:51.) But this is not a time of confusion, but of great illumination, and unbelievable challenge. There will be later material in this book on the god concept that will help you understand some things that remain unsaid in this chapter.

They will grow in consciousness and continue their own lines of development on different levels. In one way, we are all thought-forms, and this will be further explained in the material dealing with the god concept. Understand, however, that I do not mean that we lack our own initiative for action, individuality or purpose — and remember also here that you live from the inside out. Then perhaps the statement will have more meaning for you.

(I’ve painted a portrait of Van Elver, who is the fourteenth-century artist [Danish or Norwegian] from whom Seth receives information on painting techniques.^*)

To assemble this material is difficult. Not to get it.

(Jane, as Seth, smiled and leaned forward.) Now, you were a minor artist of that nature for a period. Not, therefore, during your entire life. You did better than room and board, and purchased land where you determined to settle down.

(“That’s interesting.” As Seth, Jane pointed to my portrait of Seth; it hung on the wall behind me, so that she faced it as she sat in her rocker.)

(“Good evening to you, Seth. Thank you very much.”)

(This in turn led me to wonder if tonight’s session contradicted one held several years ago, in which Seth stated that I had lived to an old age in the Denmark life. Jane had been my son. Actually there was no contradiction — merely a misinterpretation on our parts. Seth goes into more detail on this in the 595th session, in the Appendix.