“Seth material” search engine (Jane Roberts)

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.

The power must fill the image, and the image then fill the painting so that the very force of the figure seems hardly contained within it. It is the emotions beneath (smile) that give meaning to the image, and yet these emotions are held and contained and given direction and force by and through the image. (Leaning forward, emphatic delivery, eyes open.)

(Jane had no visions while speaking, but sensed some things. She felt the background in the projected painting as being alive, she said, with the figure being the important thing and materializing out of the background, while yet a part of it .

Do his words go back into the background from which he himself emerged, and does the answer emerge also? Or is there any clear answer to his question? (Smile; pause, eyes closed.) Or is the question itself the important thing, whether or not there is any answer to it in the terms in which it is asked? All of these issues are a part of your painting, implied in every line of its conception, but I want you to see consciously the implications of the figure, and the overall implications of the figure in context with the background.

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?