“Seth material” search engine (Jane Roberts)

Now. To you ... (Long pause, eyes closed.) Your paintings are your own, and I am no artist. If I read your inner intent correctly however, your prophet will dominate the background, and seem almost to come out of it. At the same time the background itself will be alive, so it is difficult to tell whether the living background propels him outward, or whether he himself, from his own power, seems to rise out apart from the background. Or whether he has been thrust outward from the background of which he is part, a living focus rising out of the background, a part of consciousness rising out of a larger, undifferentiated consciousness implied in the background.

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?

Your prophet’s lips move. To whom is his implied speech spoken—to a god he understands, to a god he does not understand, to the elements or to a part of himself that he knows exists and cannot reach. (Smile.) You should sense or know the answers, now, or as the painting progresses.

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?

Look out through his eyes, and cry out through his lips. I had my reasons (smile) for introducing these questions pertaining to the painting this evening—to make available to you certain information that you had, the kinds of questions to ask yourself in other paintings in the future.

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?

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.