“Seth material” search engine (Jane Roberts)

The season will itself offer advantages here. Let him work so many hours and then concentrate elsewhere. He is trying too hard. He sees he has changed his ways, and now wants to do so with a vengeance, you see. (Humorous emphatic delivery.) He has dropped the relaxation exercise, and this should be resumed. For him it is most beneficial.

The inner gains have been made. He is on the right track, but now he wants to gallop down it at once, you see (more humor, eyes wide) to show us all that he has changed. Now this too-much-too-soon attitude was reflected last evening in his class. Working with the table was sufficient, you see. His own interpretation of the communication attempt is correct, so I shall not waste time discussing it.

The realism has several significant meanings for you also. Your mother felt literally trapped by physical life and circumstances. As a youngster you felt that recreating portions of physical reality gave you a mastery and control over them. The more precise and faithful the recreation, the more complete the mastery.

You are recognizing certain limitations that these developments put upon you. The inner attitudes must be completely changed, though your methods and styles need not necessarily change one iota. It would help you however to attempt larger work. You are afraid of tackling too much feeling at once, and the mere fact of working larger would free you from this to some considerable extent.

Imagine the vision on the board, forming itself and evolving outward into physical reality, and let your fine technical abilities simply help the vision flow outward.

Now in portrait work, looking at a subject easily for example, try to see him as he was in past lives. This will add depth and dimension and vastly increase your own interest. Now form is extremely important, but forms change constantly, and no form is permanent. Therefore let your fine draftsman’s ability carry in itself that message: beautiful form but already in transition, with the vision beneath ever ready to adopt new shape. (Long pause. I consider this to be excellent and perceptive material.)

Now the change in the colors represented a sort of poltergeist activity on your part.

When you paint the land, do so thinking in terms having to do with its past as well as present and future. Its inner development that has resulted in its present form, the energy behind the form. Remember in your painting the relationship of one object to another, not in terms of space necessarily, the interrelationship of the vitality that forms the objects; the vibrating always changing reality within, say, the skin of the apple or the orange, the quite living consciousness within the molecules that make up what seems to be the solid surface of the fruits’ skin.