“Seth material” search engine (Jane Roberts)

(The 67th envelope object was a penciled note written on one side of a piece of white paper by our neighbor, Leonard Yaudes. See page 319. The folded note shown below the object is my own, made at the time I discovered Leonard’s note stuck in our door on Sunday morning. Thus Leonard wrote his note in answer to a phone call by my mother at 10:05 Sunday morning, August 14. We do not have a phone.

All limitations, basically, are self-adopted. They may be necessary at one time or another, but they can never be primary realities. Limitations, in other words, are illusion. You have to deal with them only because you have created them. Your exterior circumstances are the materializations of inner climate.

With the full use of the inner senses, however, it is theoretically possible to perceive all the shapes and forms that have ever been, or will ever be, adopted by the atoms and molecules that compose the particular chair. This kind of experience is beyond the power of drugs. It is true to say that in one sense both you and Ruburt are a part of the table and the chair, and the room in which they sit.

You organize yourselves out of other matter, you see. The difference is a psychic one, and not a physical one as it appears. The inner identity extends itself over larger and larger groups of energy forms, and acts as an overall psychic pattern. But all is connected.

Projection then is aggression. The self thrusts forward into new dimensions, and this is creative. Painting a picture is aggressive. You are thrusting energy into new forms. All this you see implies a destruction, but only in your limited terms. Each projection, for example, is the death, in one way, of the limited self that stood earlier.

You can only do so much in your painting. You can only create it as a reality in so many dimensions. You cannot appreciate, for that matter, all the systems of reality in which the painting does have reality. This is a very simple analogy: However, in some aspects a projection to another system could be likened to a situation in which you entered the landscape of one of your own paintings.

(One of our cats now scratched at the hall door for admittance, as is customary. Without pausing, her eyes open and dark, Jane rose and went to the door and let the cat in. She resumed her seat in the rocker without interruption.)

You would have so much freedom within, and no more. You would be different from the inhabitants who you might encounter there. But in one way or another your existence would be perceived.

Now. Most systems have more reality than a painting, but not all of them. The very nature of some would be frightening to you. Your paintings are a creation, and yet by their nature they are limitations. They are limitations because their reality is necessarily limited by the elements you have chosen. You paint one house within a landscape for example. This is a creation. But two houses will never appear.

A connection with a monument. Something misplaced again. Four plus one. This month. I L I A. (Spelled out. Shakes head, puzzled.)

Something favorite, or favored, here. Some one favored.

(Jane had one predominant image during the data, and this was of the greeting card. This is the reason for its inclusion with the actual object, since much of the following data actually deals with the greeting card. This is a case where the actual object, Leonard’s note to us, served as a springboard. The connection between the object and the greeting card is a legitimate and close one, and presumably would not have developed had Jane not correctly divined the nature of the object itself to begin with. The connection between the two being the fact that the object concerned a phone call to us from my mother; and that my mother was also the sender of the card to us.

(“Four plus one.” Usually one can make a connection with a number, without knowing whether it is correct. Four plus one could apply to the date Leonard wrote the note used as object. See the copy of the folded slip I clipped to the object, on page 319. This slip bore the date, August14,1966. Other connections could be made if one chooses to interpret the data as four plus one means five, etc. Thus there is a five on the object itself in the time noted: 10:05. Also: The card was mailed to us from 54 Slocum Avenue, Tunkhannock, PA.

(“Something favorite, or favored, here. Some one favored.” Jane said she was subjectively sure this was another reference to my mother, who caused Leonard to author the object. Me being my mother’s favorite son.

(7th Question: “Can you tell me anything about what the handwriting says on the object?” “Not an invitation precisely at all, but reference to an occasion or visit.” I thought it okay to ask this question since Seth had already mentioned handwriting in connection with the data. Seth’s answer here is a good reference to the note Mother wrote inside the greeting card. It can actually apply just as well to the envelope object itself. The phone call on August 14 from my mother concerned a visit by us to Sayre, and one by her to us in Elmira. During this call arrangements were made for her to visit us here next weekend, on Saturday, August 20.

The one impression of which Ruburt was aware was a greeting card—quite legitimate, but it was meant only to lead him further.

It was a very distant connection, and not very useful at all. Ruburt camped with his parent you see at Ensenada, and your parents’ camp. There were two illnesses however referred to, the severe one, and your own father’s. The illness of both men gave a strong impression and that is all.