“Seth material” search engine (Jane Roberts)

First of all, Ruburt may continue with his daily psychological time experiments. But these are to be carried on but once daily, and if he tries any other sort of experiment, such as he tried with the Father Trainor poetry session last week, then he is not to attempt his regular psychological time experiment for that day.

One half-hour a day is more than sufficient, considering these sessions. And also, I am at present against these fairly frequent sessions where, on the one hand, Ruburt pretends that he is merely resting; that is, he pretends to himself, but actually he is expanding his energies, and expending them just as quickly, for this amounts to more than one psychological time experiment daily.

We are dealing with delicate balances that must be maintained. With the schedule that I have suggested the inner energies are vividly and intensely focused, but for a short period of your time. This allows for an excellent utilization of the abilities already developed, and permits, again, excellent concentrated inner focus. Too many attempts at this time do not permit this brief but excellent intensification, and can lead to that peculiar semitrance state in which Ruburt found himself last week.

A complete change from intense focus outward to intense focus inward is most beneficial, but this does not mean that every few minutes found available be spent in psychological time experiments. Brisk walks should be a daily part of Ruburt’s schedule in any case, and walking also refreshes the inner self.

(It will be noted that in the 12th session, January 2,1964, Seth, without being asked by us, stated that he “knows” Jane’s old friend, Father Trainor. Father Trainor was an Irish Catholic priest who visited Jane and her ill mother regularly, for years, during Jane’s grade and high school days. He has been dead for some time. Jane has a photograph of him.

I am not saying that you should not talk about our sessions or allied subjects with friends, only that one night or sometimes two, of social discourse should certainly contain some more outward enjoyments. It would do Ruburt no harm either to resume his painting. His time as a rule is very busily engaged, and usually with mental work. It is all the more important therefore that his leisure have some outward aspect to it, and when possible of an active nature.

I am not saying you should always go dancing, but this is an excellent relaxation for you both, and leaving the house or visiting at someone else’s home is also good for you both. I would not take so much time this evening with this material if I did not feel that it was important enough to warrant it. Surely you and your friends could go dancing together when you can afford it. Surely, you can for example go with Mark to one of his jolly haunts. Even though no physical activity such as dancing is available the change is still good.

Surely you can have enjoyable evenings at home without experiments, though again at times these have their place. Our sessions themselves are always in a state of becoming. We hope to become more proficient. I do not want Ruburt to become overinvolved. I would prefer that he channels his new abilities mainly, though not exclusively, in our sessions.

I do not see any other adjustments needed at this time.

(End at 10:37. Jane was well dissociated. Once in a while Jane and I have discussed extra sessions, but usually we do not have the time, particularly when other experiments like the one involving Father Trainor crop up. Occasionally we would like a session dealing with some specific problem, and may try this approach. Also one involving questions and answers.)

(When I finished this I kept wondering about it. Why hadn’t I thought to record it? What was the change in my voice? Had I imagined or elaborated on perhaps just a small change? I tried to do it over, on tape. The reading this time was not as striking as the first time, but still there was certainly something definitely going on.

(This performance was as good as the first one. I felt carried away by the voice, almost outside of myself, very light and disconnected from this voice. But I do recall that the book itself, which I held as I paced, was heavy. I grew cold and tingled as I read. My hands perspired quite a bit, perhaps from holding the book. Rob came out of his studio to listen to me. When I discovered that I had recorded nothing this time I felt cheated, because to me this reading had been most unusual.

(I was so angry that I did the whole thing over again. Lepanto is a four-page poem. This time the performance was about like the second one, already recorded. Perhaps if I feel subjectively right about doing it again, I may try it tonight. I don’t know where the volume comes from, the deep manlike tones. Perhaps it is what actors call merely projection, breathing from the diaphragm. I wasn’t conscious of breathing any differently than usual, but if this was a subconscious production that wouldn’t make any difference. But where would the male aspect enter, unless it be a woman’s attempt to mimic as best she could the voice of a man she had admired?

(Something did take place. The medium allowing others to speak through her is the best guess I can make at this time. It seems reasonable, if Jane’s abilities are growing, as the material suggests.