“Seth material” search engine (Jane Roberts)

Give us a moment. (Pause.) Now when you watch, say, educational TV, you see the teacher, and he speaks. He may or may not actually be speaking at that time, for you may be watching a film. But the teacher exists whether or not he is speaking at that time, in your terms, and his message is as legitimate. So now see Ruburt as my TV screen. I must come through much more clearly, and you have here the essence of the teacher.

Now. I may prepare my film in advance, in your terms, when consciously Ruburt is not aware of it, and when no impression is made upon his conscious mind.

Now, some part of Ruburt is of course aware, for I would not intrude, and he has long since given his permission for such an arrangement. Nor, because you ask specific questions at a specific session, and I answer them, does it necessarily mean that the program has not been prepared, in your terms, earlier; for on many occasions I will see the questions within your mind, or the minds of your witnesses, and will therefore answer them, in your terms ahead of time.

Give us a moment. (Pause.) This does not mean however that I use Ruburt as a puppet, and stuff his mouth with tapes as a recorder, and that you are always listening to replays, or that emotionally I am not here during such sessions. It means that in such multidimensional communications I can be here emotionally. I can be here in your terms at appointed times, for the medium is also more than the message.

James. He was James Talbert. You were his niece. Matilda Montage. You were from a side of the family with French connections, and at that time flighty, easily upset, with some ability as a musician in piano, but without the discipline or drive to use the ability.

He was taking you to a concert. I do not know now, or see now, what initiated your reaction, but something happened that frightened you. You yelled at the horses and screamed. Your uncle fell. The horses panicked, and [he] fell beneath a hoof. You never forgave yourself, and now in your first reincarnation as a woman since that time, you decided to be the vehicle through which he could enter physical reality again, and so became his mother in physical terms.

Even the first had its psychological implications, for the uncle at that time was dissatisfied with existence, and with his accomplishments, and the carelessness that helped result in his accident was also partially his own. But the fact that the conception was accidental, and the death was accidental, has its own intuitive logic.

You used to stand in a mirror and copy her expressions. (Pause.) She married a man whom you also have known in this existence. Your father simply preferred her because she did remind him of his wife. In a past life you had no use for women, and therefore chose an existence in which you were feminine; not only feminine but endowed with those qualities that you had particularly disliked; because you feared those qualities you therefore lived with them and to some extent learned to understand them, though you are still left with some impatience when you see them in others.