“Seth material” search engine (Jane Roberts)

The particular words are not important, but the emotion behind them is important, for they will—the words and the emotions—be reflected in every muscle of the face, as well as in the thrust of the head and the hands.

The face, in intense (underlined) joy and in intense terror, may often be much the same, but the emotion still will speak within it, and you will know clearly despite the similarity of some muscular effects, which emotion is being expressed.

Sorrow or fear obviously show different faces—not only (long pause), the anatomy and the structure [that] forms the living face, but the emotions within that give the muscles and the structures meaning, and that play upon them. You want the force that feels the form and so the figure must indeed dominate the painting, as the force within must fill and move within the figure itself.

Now as men wonder about what was Mona Lisa thinking, so let them be so intrigued and so involved that they want to hear your prophet’s unspoken words. Put yourself in his place, and with all of his capacities, and with his wisdom, and what would you be saying, and what emotion would move the muscles of your face?

Now there are several ways of taking care of such matters. You can build form or a structure with lines, or a face, and leave it and wait for the emotion to fill it up, and then quickly with a touch here and there bring out that which has appeared, the movement that was within the form, that you barely sensed. Or you can perceive the movement, the emotion and the power first, and then paint the form that grows about it to form it.