“Seth material” search engine (Jane Roberts)

(“Number forty-four: If you hadn’t been able to speak through Jane, would you try to do so through another — or are you doing so anyhow?”)

I have spoken through others. The arrangements “this time” were already made, you see. It is true that Ruburt need not have accepted the arrangement. If so the material would have been given, but in different fashion.

I would not have spoken in this way, for this work requires a certain specific rapport, and definite characteristics on the part of the personality involved. Material could have been given in a much more simple fashion through another, but I wanted it as undistorted and fully dimensional as possible. Had Ruburt not been available, the material would have been given to a Speaker, living in your terms, who was also involved in the creative field.

There is no one else presently alive in your system with whom I had any great rapport in the past, except yourselves. Such a Speaker would have received the information largely in the dream state, and written it in a series both of treatises and fictionalized narrative.

Had Ruburt not accepted, however, it is most probable that he would have chosen another life in which to fulfill the task, in which case I would have waited. The decision was always his, however, and had he not accepted at all, other arrangements would have been made.

(I know the painting, of course. I painted it in Florida in 1954, before Jane and I were married. I have photographs of it, and intend to repaint it some day. This means, of course, that I’ll only be painting a new version of the old. It would be impossible to truly duplicate it. I have no regrets about selling the painting, though.)

Had you remained apart, the sessions would not have begun. You have been connected with the same entity, though you have sprung apart from it, but the inner relationship adds to the power available. You help steady the circuit, so to speak. You also generated initial energy and impetus to help Ruburt’s own.

Such work does not only necessitate the choosing of one individual, but is also an endeavor in which many other elements are taken into consideration. It was known, for example, that Ruburt would need your support, as it was also known that the work itself would help your own creative abilities.

(10:00.) It goes without saying that on much deeper levels there is no reluctance on Ruburt’s part, or the abilities would not have developed in this fashion. His criticism in the beginning served also as reassurance to the ego, in its first experiences, that it would not be shoved aside or damaged in any fashion.

(10:09. Jane’s trance had been deep, her delivery fast. She said she could see the 1954 painting very clearly while Seth talked about it, including its wide, old-fashioned gold frame. At first she had forgotten what the frame looked like, she told me, but now correctly described it. Naturally, the painting was sold before we had any conscious awareness of its import. This would be not only before the sessions began, but before we even suspected such possibilities. The balance of the session is deleted from the record. End at 10:28 P.M.)

^* Inner vibrational touch is one of our Inner Senses. Seth lists these in Chapter Nineteen of The Seth Material. To paraphrase: Using this sense, an observer standing on a typical street would feel the experience of being anything he chose within his field of notice: people, trees, insects, blades of grass. He would retain his own consciousness, and would perceive sensations somewhat in the way we now feel heat and cold. This sense is like empathy, but much more vital.