“Seth material” search engine (Jane Roberts)

(Seth here refers to a large painting I have planned and made a pen-and-ink drawing for in small scale. Tonight I explained to Jane the problem involved in determining the correct relationship between background area, and the prophet, who is in a standing position. In this particular painting the background will play an important role, since it is designed to indicate a play of light and shadow. The prophet looks upward to the left, lips parted in speech.)

By the time the painting is done you should almost be able to hear his words, even though they are in a language you do not know. But what power moves him, and is it the same power that moves you, and that moves those who will look at the painting? (Smile.) For unity’s sake it should be. Is he only aware of those who will later look at the painting? Is he only aware of the unseen power or person his lips address? Is he speaking words not only for himself but for every other individual?

And perhaps in painting your picture the answer to the question asked by your prophet will also come to both of you. Does the question provide its own answer, or is there another who will provide the answer, or does the prophet question in vain? Does anyone hear his question but himself?

For now the figure rises from the background and dominates it, is thrust forward and you catch it; but may it not also once more return to that background in the instant that you turn away, and emerge anew. The question itself is significant, and indeed universal. (Smile.) And look even further: what is the nature of one who can ask such a question?

“What am I,” question three, “who can conceive of a painting in which the first question is asked?” The three questions automatically show the added dimensions of the questioner, and the various stages through which the original question can develop. (Long pause.)