“Seth material” search engine (Jane Roberts)

(One minute pause.) There are several points I would like to make. For all practical purposes, you will find yourself in some sort of body form in your out-of-body experiences.

The dream body is the one with which you are most familiar. It has been called the astral body. It strikes you as being physical, though you can do things with it that you cannot do with your physical body. You can levitate with it, for example. As a rule you do not go through walls with this body. This is the body that you use for ordinary dreams. Levitation is possible with it, but on a very limited basis.

The form that you use does not dictate the various abilities. You don the particular form in line with your abilities. You do the best you can, in other words. (Smile.) It is possible to begin an experience in one form, and change to another, or to go from the first to the third. On such occasions you must therefore, you see, pass through in reverse direction. The forms do merely represent various stages of consciousness.

One small interesting point here. Ruburt’s projection upon first looking over the Fox book was quite legitimate.

I found this amusing. The symbol was a highly valuable one however, obviously. You will both improve with practice. Because of your ideas, you see, you experience more difficulty in getting out of the physical house. (Smile.) Ruburt’s window image, had the experience continued, would have effectively done this for him. He did not have the confidence to imagine himself, you see, passing through the physical walls.

The impression of a fence or border here, shown in the picture. (Eyes open and closed.) It is of an old, rather than a new place, I believe, connected with a stone building. (Eyes open again; with gestures.) Perhaps the building is in some way on exhibition, or one must pay to enter it. Again, this is a picture of some sort, and not the building itself.

Now other impressions. A meeting of four people in the afternoon. They seem to have white hair or blonde hair. None of them is a dark-haired person. (Long pause.) There is another man standing up. They are around a round table, in a fairly large room that seems to be empty except for themselves. One man has a watch on a chain.

(Jane paused at 10:17. Her eyes were still closed. She took the envelope for our 56th experiment from me without opening them. She pressed the envelope to her forehead with one hand while keeping the other to her face.)

(Seth mentions another possible connection with mirth in answer to my third question. But his answer to that question also makes us believe the interpretation above is the correct one.

(“The color red.” Jane wore plaid shorts of a predominantly red color. Also, she sits on a Mexican serape, one of two given to us by her father several years ago. This serape bears alternating bands, each one perhaps four inches wide, of white, red and blue.

(“Give us a moment… B and L and G.” My first question asked for initials connected to the object. Jane said that when giving this data she knew the initials referred to different things, not just one. So we speculated that B referred to Butts, L to lawn, and G to glass. Seth confirms this after break. Note that I didn’t indicate lawn, actually, in the sketch, although Jane’s cast shadow falls partly on the lawn.

(Jane didn’t have much to say about the map simile, but thought the ground crack idea pertinent. While sitting in the sun, smoking the one cigarette she had with her—it is shown in the sketch, which means she smoked it after I finished the drawing—she looked for a bare spot of ground against which to put the smoke out. In doing so she realized that the ground was quite dry, and that we needed more rain.

(“Perhaps 24, referring to a day of the month.” The envelope object bears the date on which I made the sketch—May 23,1966. Seth is one day off.

(After the experiment, and after we had interpreted the data, Jane recalled one impression she had which she had not mentioned. The impression was “Star shape.” Looking at the drawing, Jane felt it applied to the radiating lines on the crown of the straw hat she wore as I sketched her. We think this legitimate for Jane uses such calligraphy in her paintings.

We will now close our session. One remark: It will do Ruburt good to work vigorously about the house, and that is all.