“Seth material” search engine (Jane Roberts)

Now: I bid you good evening, and our friend (Sue). I would have some interesting comments to make regarding the relationships between you, but we must be up and about with our Appendix, and so we will continue that. The other information will come in its own time.

(Seth actually made an elaborately humorous request for the dash in the last sentence: Jane, her eyes very dark, leaned far forward over our coffee table and spoke to me in a soft voice.)

(“When Jane came out of trance it was, again, an almost audible experience for me — a feeling of slowing down from a high airy whine to our normal ‘sound’ or speed. There was a great sense of change. It was as though part of this acceleration was connected with a dimension where sound was more than a hearing thing. It’s a terrific, vital feeling. I could feel it starting up toward the end of each break.”

Now: Our friend Sue’s observations came very close to an excellent description of Ruburt’s subjective feelings, as he told you during break.

I refer readers to Ruburt’s Introduction, in which he compares his own creative experiences as a writer to those he feels in our sessions. There are several points he did not understand, and so here I would like to clear them. (With a pause): New paragraph.

In our own sessions he is not aware, consciously, of the creative work that is being done, precisely because he has gone out of the range that the conscious mind can follow. He has projected a portion of himself into an entirely different kind of subjective reality, a different dimension of activity entirely.

Now: Many of the experiences that Ruburt has during our sessions he cannot recall afterward. As physical objects are symbols, existing as realities within certain frequencies, so there are other realities, of course, at different frequencies; but here objects are not the main symbols.

Now for our friend’s sake, I am speeding up the acceleration to see if she can perceive it. This often takes place during the dream state — and when it seems to you that you have briefly entered an astonishing new dimension, the dream state itself involves such an acceleration.

To some extent or another, each artistic creation, though to a lesser degree, involves the same principle. Now, I cannot keep the additional acceleration up, or the voice will go so quickly that our friend cannot keep to his notes —

(His loud and rapid voice soon quieting, Seth explained to me that he would give a “fine demonstration of an acceleration” in a session in which we used our recorder. Sue could sit in on it, and hopefully I would experience the acceleration as clearly as she does. This interlude ended in a break at 11:10.

Now: I am going to end the session shortly. It was, of course, no coincidence that our friend came here this evening. Besides giving you necessary information for the Appendix, some of the information given on objects and symbolism definitely applied to Sue.

(11:25 P.M. Once out of trance, Jane had little to say. “I’m just sitting here, watching you two busy bees,” she grinned, as Sue and I worked on our separate notes.