“Seth material” search engine (Jane Roberts)

(See the last session. Jane had been trying to keep alive a young robin that had been caught by one of our cats last Monday. This morning we found the bird had died during the night. It had been kept outside, in a safe place, and fed, etc. Last night at perhaps 10 PM, as we sat in the living room, Jane suddenly announced: “The bird is dead.” But we did not go to check.)

Ruburt was in the third form, and he did indeed project beyond your solar system. This was still a projection within the physical universe however. He was given information which he did not recall consciously. When you experience clearly(smile), when you explore the inside of a concept, you act it out. You form a temporary but very vivid image production.

In the third form your experiences will be more vivid. They will involve you perhaps in other systems beside your own, and you will have little contact with your physical form. For this reason projection in the third form is the most difficult to maintain. The possibilities are truly fascinating, but there are dangers that do not exist when the other two forms are used.

But this is not an instantaneous process, and in any projection attempt there is no need whatsoever for this to be carried any further. This form is used however for purposes of instruction. It is used now and then to acquaint the whole personality with those circumstances that shall at one time affect it.

A page, perhaps from a book. Having to do with, or mentioning, a scourge of some kind. Perhaps a time of plague. Now this could be fiction, or a historic account (pause), but mention of a disease.

That may need some interpretation, but that is the impression.

(“Ten.” The object is a notice Jane and I received in the mail recently, stating that a local artists supply store was continuing in business under new management. Tonight’s session was held on June 15. I had thrown away the envelope the object arrived in, but both of us remembered receiving the object last Friday, on June 10. Seth confirms this later.

(“Something repeated, perhaps, though I am not certain, five times.” Seth wasn’t positive here. We believe he was getting at the construction of the drawing on page 1 of the object. The three sections of milkweed pod shown are made up groups of lines; each group contains about the same number and arrangement of lines, whether one would consider them black or white. One could find arrangements of five lines in each of these groups, but could also count more or less, depending on approach. We believe the idea of repetition here to be valid.

(The word “framing” appears at the bottom of page 3, and is itself enclosed in a fancy frame, but evidently Seth wasn’t referring to this.

(“This is difficult to put into words… The impression of something going forward, as of a path, you see, that is wide, and then narrows into the distance.” Jane made her gesture, as described on page 242. “That may need some interpretation, but that is the impression.” I sought more information on this impression by the first question. At the time of the above data Jane held the envelope horizontally. There can be a literal interpretation: The drawing of the milkweed on page one of the object is V-shaped in the abstract sense—wide at one end, narrowing to a point, as did Jane’s gesture. Also the A in the Art Shop monogram narrows somewhat but doesn’t come to a point. There can also be a symbolic interpretation, and Seth raises this possibility in answer to the first question.

(“Four vertical lines,” While giving this data Jane held the object vertically, as indicated by T on page 4. The data is too general to be sure; the drawing on page 1 would have some upright lines in it while the object is held vertically, but nothing exactly vertical.

(“and some designations on the other side of the object, perhaps in the upper left-hand corner.” Holding the envelope vertically in her right hand, Jane pinched the upper left corner of the envelope with her left hand. See page 243. There is printed matter on pages 1 and 3 of the object; folded, this puts one printed page behind the other, which could give rise to Seth’s use of “other side.” The Art Shop address at the top of page 3 however is neither to the right or left, but centered. We don’t know if the upper left-hand corner data derived from Jane holding the object with page one facing away from her, for instance.

(The third question asked for colors connected with the object. Seth gets around to answering the question, but first inserts the material concerning my brother Loren: “Now, we will try something here. I am up above, looking down at a room in which four people sit at a table. They are members of a family. Of your family, Joseph.”

(“I believe your brother Loren is one present. The number 17, a date in July which will be significant to him, or his close family—not necessarily to him, you see.” We did not ask for this data; it came through spontaneously. We saw one reason why Seth could have chosen to insert it here in the envelope data, and Seth confirms our speculation later. Our idea was that Seth sought to use the idea of a relative connection with the object. Ruth Gridley, listed on page 3 of the object as one of the Art Shop’s new management, is my first cousin; Loren of course is my brother. But we still think the Loren data is separate in the main from the envelope data.

(Now Seth answered the question: “A rectangular object, with white background. Also gray.” The object is rectangular. It has a white background. There is no gray on the object, but as soon as she saw the fine print on page 3, Jane said this to her meant the impression of gray.

(I fell back to sleep at once after seeing Jane return to bed at 1 AM. Jane said she remembered that the two cats were very noisy as they played together in the dark apartment, and that she remembered wishing they would stop. But she had no memory of getting up a second time, dressing, etc., to put cat number two out again.)

(Seth called it a night, presumably, at 11:30, but then returned, still in a fine and smiling mood. He said Jane would not like the sleepwalking idea, which Jane confirmed later. He also told Marilyn Wilbur that he saw her, through Jane’s eyes, as an individual—a question Marilyn had raised earlier in the evening. In the past on various occasions Seth has said he usually sees witnesses, and myself, as a composite electromagnetic image that embodies our past, present and future, as well as these attributes in whatever other lives we might have had. He has explained that this is easier, usually, than focusing so sharply on the one physical and psychic personality in our temporal now.

(The Wilburs left us. Jane and I thought the session over, but Seth returned briefly again at about 11:45, to comment in a hearty manner that during the physical lives Jane, Seth and I lived together in Denmark, during the 1600s, I did him out of considerable money. Bits and pieces of our reincarnational material crop up throughout the sessions.

(Additional note by Rob regarding 12: Jane also had an impression of dark hair in connection with the arthritis data. This was correct according to the Wilburs on Friday night, June 17, but now I do not recall just how. RFB - 6/20.)