“Seth material” search engine (Jane Roberts)

The address itself had two fives in the number. There is a connection with a 1632 date that I do not understand. Perhaps we can clear it up later. (Long pause.) A Gaylor family was connected with the church. Rich members I believe, and they were buried nearby. A Sarah and an Oscar.

(See the copy of the envelope object on page 142. As stated it is the top half of the first page of chapter five of the book on dreams that Jane is writing. This was the first draft. Jane had thrown it away and I rescued it from the wastebasket in my studio. It is written on yellow paper; the notations were made by a pen with the same color ink as those on the copy. I wrote the date in pencil on the object the day I found it. It was folded once before going into the sealed double envelope. The back side of the object is blank.

(“A framework, that seems to be wooden, with thin lines like poles.” We believe this data is reinforced by the “high ledge shape” data given later, and that it refers to my studio, wherein the page of manuscript used as object was written. Jane uses the studio in the mornings while I am working outside. Her desk faces a row of five windows, tall and narrow, and with small panes. The studio is actually a glass-enclosed back porch, second story, converted to year-round use.

(As she sits at her desk Jane looks out and down to the grass of the backyard below. The view is high and quite pretty. To her left is the kitchen roof of the apartment below us, but this is to the side and does not obstruct the view. We believe the framework mentioned by Seth is a reference to the wooden window frames, and that the thin lines like poles refers to the narrow wooden frames holding the glass panes; eight small panes make up each of the five windows.

(“The connection with anemia leads Ruburt to think of Helga Anderson, or a connection with artists or artwork.” Jane thinks that here Seth was trying to get her to say that an artistic endeavor, meaning the dream book, was involved with the object. Helga Anderson, a good friend, has anemia. She is the wife of Ernfred Anderson, a sculptor who was director of the art gallery where Jane worked part-time for several years. In the chapter five connected with the object, Jane uses a dream of Ernfred’s to make a certain point.

(“An initiation, not completed.” The object is the first half page from the first draft of chapter five of Jane’s dream book, and thus would be something begun or initiated, but not completed. There can be extensions here: Not completed could refer to the whole first draft of chapter five, or to the whole dream book itself. Also, perhaps, initiation could be linked to the suggested experiments for the reader to try, as mentioned in the headings. Jane’s idea is that this data refers to the dream book itself being started but not completed.

(“Connection with an animal.” Oddly enough, there are several references to animals in the chapter five from Jane’s dream book. In the early part of the chapter Jane used the phrase “cart before the horse,” and Seth mentions horse a bit later. One of the headings for the chapter is Dream Symbols and Culture. Discussing this subject, Jane mentions that fire helped primitive man “keep the beasts away,” etc.

(“The words unholy alliance come to me here.” The whole of chapter five, from which the object comes, concerns the close relationship between dreaming and waking life. We see the idea of alliance here, but not unholy particularly. Seth might have been spoofing us a bit, or it could be a slight distortion. My notes indicate nothing out of the ordinary in Jane’s delivery at the time.

(“A selection, or something offered from which selections may be made.” The six headings to the chapter five, shown on the object.

(“A star shape. Something round, again, with spokes leading outward, but rather prominent.” Jane immediately thought of this diagram when she read over Seth’s data. It is on the back of page 112 of the first draft of chapter five of the dream book. Jane believes that she quite possibly made the diagram on the same day she typed up page 80, which was used as envelope object. Page 112 was used in the final version of chapter five, fortunately, and so was not thrown away. I had not seen the diagram before. It is one Jane made to help her see clearly certain points involving the whole self, and waking and dreaming states. There was much handwritten copy beneath it. Jane located the diagram immediately after this session. She said it is the only one she made for the dream book; she has the habit of making many notes on her manuscript, but very few diagrams of this kind.

(“and a connection with a horse perhaps. Some connection here, but distant.” See the interpretation of the “connection with an animal” data on page 149. In the early part of chapter five, from which the envelope object comes, Jane used the phrase “cart before the horse.”

(“Squares. Perhaps a game connection.” Games figure prominently in chapter five of the dream book. To make some of her points in the chapter Jane uses a recurring childhood dream of her own. This dream involved the large playground she visited often in waking life, across the street from her school in Saratoga Springs, NY. There were many kinds of games to be indulged in at the playground in waking life. In addition, in her recurring dream Jane kept recreating a series of games at the playground, in a section where there were none. There is more to the dream, but enough is said here to make the game connection.

(“A connection with a high ledge shape, as one connected with a roof, or lookout from which one can look down and away.” See the interpretation of the “framework” data on page 148. As stated, the manuscript page used as object was written by Jane in the studio at the back of the apartment. The studio is a second-floor converted porch with two sides made up of five windows each. Jane sits at her desk facing the row of windows to the west; from there she has an excellent view of the backyard and the street beyond. She “looks down and away” at grass and flowers, etc., and to her left, not obstructing her view, is the porch roof of the apartment on the ground floor.

(“Connection with four people, one of them disheveled,” I wanted to ask Seth questions about this data but did not get the chance. The object is part of the first page of chapter five of Jane’s dream book. In chapter five Jane discusses dreams furnished by four people specifically—Jane, myself, Bill Gallagher and our landlady, Marian Spaziani.

(The TV screen entered the data because Jane used an analogy in the first couple of pages of chapter five of the dream book, involving a TV screen; she mentioned it quite extensively on two pages. The analogy does not show on the half page used as object. It begins on the bottom half of the same page—but not in the first draft of chapter five of the dream book. It is found instead in the second draft; rewriting the chapter, Jane then inserted the television screen analogy to help make some points clear.

(Two days after the session Jane found herself reading over her second draft of chapter five. Coming across the TV analogy made Seth’s data about a screen clear to her—particularly when it also reminded her that she’d had a good image of a TV screen while giving the envelope data. Had she not chosen to reread, this block of material would have been missed.