“Seth material” search engine (Jane Roberts)

And with implied words, for the words that are sensed but not spoken, will rush out with color rather than with sound, and behind the implied words those emotions upon which the painting must be based. (Pause.

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.

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?

(At this moment I then consciously knew what my prophet was saying in the painting; the words came clearly to mind: “My God, my God, what am I?” I was tempted to speak them aloud next chance I had, but did not. I hadn’t tried to conjure up these words; the emotional climate set up in the session by Seth had made their release from the subconscious effortless.

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?

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.