“Seth material” search engine (Jane Roberts)

Not only this, but he needs other interests to refresh him. I have in the past suggested he resume painting. The yoga is good, excellent for him. It should be done joyfully. He need not always be so serious. These points sound obvious, but they should be followed. This gives the inner self freedom. He has been hammering again, though now he hammers with a better purpose. (Smile.)

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.

(9:22. Jane came out trance easily, but said that once again it had been a deep one as has been the rule lately, and that even now at break she could feel Seth’s energy.

It was a tool of your art. It was also a part of your talent. It added to the dimension of your work, but to some degree it was also adopted as a protective mechanism, to give you some feeling of separation. Your mother’s emotionalism frightened you so that you distrusted strong feeling, even while you must use it, and be vividly aware of it in order to paint.

At times you have been afraid of putting too much of yourself in your work, as if the painting then could imprison you. In the back of your mind you thought of your mother and father, imprisoned in their house. The house an emotional framework, but quite physical.

The technique can follow beautifully through as a handmaiden of the intuitions. The technique can be channels of line through which feeling may flow. (Long pause.) Let the medium and technique follow naturally from the original vision. Allow the vision then to take its own form. But do not impose (underlined)a form upon it. Then this fine technique will be truly used to advantage.

(10:03. Jane was far-out again, but once more left trance okay. Resume at 10:13.)

This attitude alone will help you greatly. A child develops in his own way. A parent should not try to force, but follow the child’s natural bents. So let your technical ability follow the visions natural bents.

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.)

Some of this is habitual. You have freed yourself to some considerable extent already, but you must remember to give your vision its own freedom, and then follow it.

(10:40. Again Jane was well dissociated. Her eyes opened easily, it seemed, but as she said, “it doesn’t mean much.” She was even at break still very much aware of Seth’s presence and energy, which seemed to flow through her. When she resumed her voice was quieter at 10:52.)

Now. Again, the vision will imply and even sometimes dictate its own form, but the form should always exist as an attribute of the vision and not be imposed upon it.

The vision will take another form, but if you have faithfully followed through, then the vision and its adopted form become one moment point. (Pause.) Allow the vision to express itself in form; again, do not attempt to impose the form upon the vision. The form should grow out of the vision.