“Seth material” search engine (Jane Roberts)

(I am not an expert on Spanish art, but the above passage reminds me of Velazquez for some reason. Nor does Jane know Spanish art. For instance, she doesn’t particularly admire Spanish artists, or talk of any one or group of such artists, etc.)

Now the suggestion I have given you is the same sort of thing. There is no dependence upon agreed ritualistic symbol, however. The exercise itself will allow you to make the necessary transformation, where the one becomes all. Now this is the expansion of which I am speaking. It will cause immediate physical evocative reactions. Do you follow me here?

Now. One of the attractions for others in that painting of me is that it automatically suggests an unseen audience, to whom I appear to be speaking. Not indeed a formal audience, but unseen listeners who represent humanity at large. The unseen is there. ‘The figure manages to suggest the universe of men and the world that holds them, yet nowhere literally do these appear.

(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.)

(Humorously:) Ruburt does not want me to hurt your feelings with apples—

(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.)

(“Can you give me his name?”)

(At 10:22 I did so, and spoke to Jane again. Very slowly her eyes opened; they were very heavy and sleepy and the effort involved was apparent. I said it was the end of the session. When she finally began to talk Jane said this was the deepest trance, the “farthest out” she had ever been, bar no other time. Yet she still remembered some of what she had said, in a general way. She felt Seth had come through as specifically as possible for her at this time, and with great clearness. Jane felt the energy involved: “I had a sense of tremendous power going through me.”

(The Van Elder name was not specifically familiar to me, although it could be said to have a familiar sound. I can say that the painting and energy data given tonight is entirely sound and worthy, however, and certainly beneficial for any artist. The method of using siennas, ochre and violet is not one I have used, but appears to be quite sensible; I may try it soon. I do not believe Jane consciously thinks this way.