“Seth material” search engine (Jane Roberts)

(Jane began speaking in trance this evening with her eyes open at once, her voice a little stronger than usual. She used few pauses and many gestures, and it was evident from the outset that the trance was a deep one.)

You may take your break. (Seth paused, then resumed.)

(“No.” Even though it was 9:45, Seth obviously wanted to continue. Jane’s pace had been good. Pause.)

Now one other small point. (Pause.)

(A long pause, eyes closed, at 10:06.)

(Another long pause. I asked finally: “Why don’t you open your eyes?” But Jane did not do so, and gestured to me to wait. Resume at 10:11.)

(Again Jane paused, at 10:13. This time she told me I had better speak her name three times, as Seth had suggested I do in a recent session, when her trance was deep. I did so now, and very slowly Jane opened her eyes, one at a time, on a crack. But, as she said later, she never really got out of the trance, and resumed at 10:15.)

This has something to do with Ruburt’s difficulty in breaking the trance state. (Pause.) From someone else here… Your figures, to get the feeling of depth and breadth, this is not to get the feeling simply of the flesh and bone within the flesh, but to suggest the personal energy and vitality that is in a riot, to be loose within the flesh.

This is from an artist who always used siennas for initial flesh tones, with a suggestion very lightly of violets. Built up then cleverly with (pause) transparent ochre which he had, and a particular green, muted. The top complexion tone lay on this lightly, as if a wind could blow it away, and of course he suggests this. (Long pause.

We are working on it. Van (pause) Elder. (Pause.) Dane or Norwegian, domestic scenes, 1700’s. (Pause.) Straggly grass scenes and small mounds of ground, brownish foregrounds. I am not sure, 1781, or 1881…

Having to do with him. (Pause, head down, hair disheveled.) Now as the clouds’ construction constantly changes—tonight you watched them (and sketched them after supper) so the forms of objects constantly change. (Pause, head down, hair disheveled. Eyes closed. Jane constantly rubbed her face and eyes with both hands.) We had better get Ruburt out of this for now, at least for a break. Touch his shoulder.

(I asked the question because of the long pause; I wanted to keep Seth on this track, and thought he might begin talking about another subject. Jane said she had visions of brown earth and clumps of grass while she gave the data. A little earlier, she now added, she had seen flashes of other paintings as she spoke about the old masters, but she didn’t know which paintings were involved by name.