“Seth material” search engine (Jane Roberts)

This one, that one, is one of your favorites, and one of Ruburt’s, and for that reason I myself do feel a warmth. I would suggest that Mark also exercise himself in the use of psychological time. He should progress fairly rapidly. His impulsive nature is actually somewhat more restrained in this life than it was in the previously past life. Nevertheless, one of the problems for the personality is still the need for a more disciplined ego.

He was erratic. You might say that Mark was too erratic to be erotic. He at that time was fairly wealthy, and gave away much money in a subconscious attempt to make up for the aggressive and cruel male existence just previous. The choice in the past life of a woman’s personality represented a somewhat understandable weakness on his part, and yet it also represented bravery in a sense.

The impulsive and warm quality began with that midwest existence as a woman. Through the erratic nature of the woman’s personality he was actually able to be much kinder. A male’s personality at that point would have held too many temptations as far as overaggressiveness and cruelty were concerned.

You have more than compensated now for past errors, not only in this life but in the previous life. Your painting is almost a direct result of a desire for creativity, to balance what was once your destructive personality.

Art of any kind is extremely important as a way of paying off debts, that is psychological debts. When you were a woman, Mark, and wealthy, you gave away money. Now like Joseph and Ruburt, you give away parts of yourself, fragments of yourself, made more or less into living psychological forms that according to your ability are free from not only time, but free from many of the defects of your own present personality.

You draw upon your own entity’s hidden abilities and knowledge, and therefore transcend the limits of your own present personality. You are not only your present personality, you are the sum of all your personalities. This should be realized.

Any art form touches the generations. Karma can be worked out in many ways, and here again we return to Mark’s earlier male oriented, aggressive personality. This time, through the creation of beauty in paintings, he more than makes up for past errors; not only because paintings certainly should possess beauty, but because they instill positive creative thoughts in the mind of the beholder.

(Seth’s mention of Ed Robbins, who now lives in New Paltz, NY, struck me as rather strange. Ed and I became acquainted first by mail when we were both doing free-lance commercial art work. At the time, many years ago, we did not meet. Later, while I was living in my hometown of Sayre, PA, I received a phone call from Ed inviting me to work with him on a project in Saratoga Springs, NY. This time it was a syndicated comic strip. Indeed, Ed introduced me to Jane the day after I moved to Saratoga, where I lived for about a year in the mid-fifties. Within a year Jane and I were married. Then for some time we did not see Ed; the last time was during an overnight stopover in New Paltz, when Jane and I were on our way to York Beach, Maine, on vacation. It will be recalled that it was in the dance hall at York Beach that Jane and I saw the projected fragments of our own personalities, that Seth dealt with so extensively in the 9th session, of December 18, 1963. [See Volume One.]

The complications latent in family relationships are always dynamic and everchanging. There is no reason to suppose that such problems are insoluble; and also remember that problems between such personalities are often solved through interaction with other personalities.

You, Joseph, were the pudgy, hairy-chested and lecherous landowner, and the town was Triev. Your son was an artist, and certainly prances up and down now in the person of your Ruburt; and at the time you had no understanding nor use for art as any man’s profession; and let it be said that in this respect Ruburt treats you much better than you treated him.

As you mature and gain in knowledge, you do not obviously grow fatter; in other words, these qualities take up no space. They are not even visible in your space. Physical growth exists in terms of your sense of continuity, and therefore is projected into space and time. The evolving mind takes up no space. The personality takes up no space. You cannot look at it, or feel it. You can merely see its results.

In art, you manage sometimes to put into a framework of space something which usually has no existence in space. The crucifixion has no existence in space. It has no existence basically in time, in that it did not occur to any particular person, per se, at any particular time per se. Nevertheless it is a reality on your plane, and it exists within it.

The painting is in a room with three windows, in a large building. It was not stolen but misplaced. The reasons are many. One of the main reasons is one that has to do with Mark’s own personality and psychological makeup.

(This bald head just about filled the screen from top to bottom, although I was aware of a rather thin neck. I was not aware of any clothing. The man was in his later forties perhaps, or older. His head had roundness to it. There was something of an Oriental feeling about the features and the composition, though I do not believe the person was an Oriental.