“Seth material” search engine (Jane Roberts)

(At the supper table tonight Jane and I discussed our painting and writing, and said we hoped Seth would discuss several problems that had arisen in these fields. I was particularly interested in the painting information, and spent some little time explaining why to Jane.

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.

There was a connection. Circumstances were not good at the other end, and also he had done quite enough that evening.

(Long pause.) You deal with emotion and creativity, and have always done so. Your own ability as a draftsman, if the term is the correct one—your technical ability—was adopted for two reasons.

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.

It allowed you to feel that you were capturing the subject, and to assure yourself that the subject was not capturing you. You wanted to be sure that you were using your emotions or feelings and not that they were using you.

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

You did not consider it refined, in terms of process, enough. Neither did you find yourself at home however with the acrylics, that you felt were over-refined, and too far away from basics. Your problem being your overall attitude toward the emotion from which your art springs, for your attitude is then projected outward upon your mediums. To some extent the present dilemma was initiated by your parents’ condition.

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.)

(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.)

(I thought the material excellent. Jane was well dissociated. Once again, she felt as she used to when the voice was very loud—inside it, so to speak.)