“Seth material” search engine (Jane Roberts)

Besides normal reasons (Jane dictates:) he was psychically inclined, at a time when Jane was young and herself close to a past life. She sensed his deep and personal inner awareness. It confused and haunted him, since his inarticulateness applied also to thoughts within himself. He felt strongly but could not explain. In his solitary nature he came close to being a mystic but he was unable to relate his personality as Joseph Burdo with the social world at large, or even to the other members of his family. There was a block, regrettably. He felt strongly his connection with the universe as a whole and with nature as he understood it. But to him nature did not include his fellow human beings. The solitariness that besieged him—because it did besiege him—is dangerous to any personality unless it comes after identification with the human race.

That is, in his feeling of unity with All That Is, he excluded other human beings, and on your plane it is necessary for the personality to relate to them. Only after such relation is isolation of that nature of benefit. Jane sensed her grandfather’s feeling of identification with the rest of nature however, and since she had not yet developed a strong ego personality as a young child she felt no sense of rejection as did, for example, the other members of the family. When he spoke of wind she felt like wind, as any child will unself-consciously identify with the elements.

As to your jottings this morning concerning art, very good, I commend you. You are already beginning to think in new and wider concepts. As your paintings are solidified feeling on board or paper, apparent in the physical universe and therefore vulnerable to the laws of that universe, so is the universe itself on your plane physical materialized feeling, only with more dimension than a drawing or a painting. There is however also an extra dimension in a painting than people usually recognize, beside the lines and color and form and content, which are as you said so aptly feeling solidified. You have the action of which you also spoke. First you have the action of the lines, form and content and so forth, caught and solidified, then as an observer looks at a painting feeling is again motion moving out from the painting into the beholder’s perception.

As far as the ink sketch is concerned, do not forget that while your man was imprisoned by his senses, in trying to reach beyond them in your physical universe your man could not perceive anything at all; and yet it is through these very earthy senses that he has a chance to glimpse beyond, or indeed realize that there is a beyond to glimpse.

(Here Jane pounded on the desk for emphasis and began, surprisingly, to speak in a stronger voice. I had thought without becoming consciously involved that her voice had been strengthening and deepening since last break. Now, the deeper tone became unmistakable. As she talked it became even more pronounced, more formal and louder.

I have said also that this feeling of vitality, and I prefer the term vitality, is moving and itself a part of the living stuff of the universe. Now as these wires pass seemingly from plane to plane they actually form the boundaries of each plane and become subject to the particular laws of the plane. Therefore they become subject to time on your plane. And they become subject to other laws, if not laws of time, on other planes.

We have a much stronger sense of play and relaxation than you have, and much more enjoyable. We can play as a child plays, having however full conscious appreciation—the I am principle—which the child lacks in his fanciful games.

(My body was very light, weightless it appeared. I was conscious of no muscular weight or pressure at all. Particularly my shoulders were affected; my arms and hands felt like water or air. Rob told me to get up. He was beginning to feel worried. I could hardly rise from the chair, he had to help me to the couch. I didn’t feel physical enough to move.