1 result for (book:tes9 AND session:505 AND stemmed:fruit)

TES9 Session 505 October 13, 1969 5/70 (7%) landscape ladder thumb units rock
– The Early Sessions: Book 9 of The Seth Material
– © 2014 Laurel Davies-Butts
– Session 505 October 13, 1969 9:34 PM Monday

[... 38 paragraphs ...]

I would appreciate it, dear friend, if you let me continue for now, though I understand why you want to know. This is not a rebuke. (Smiling.) I simply did not want to be interrupted. Give us a moment. (Pause.) I do not know the specific painting, although a round object was involved. It was I believe one of the pieces of fruit. The idea flitted through your mind and you did not grab hold of it, but it worried you.

I believe the feeling had to do with the fear there was an overreliance upon structure, in this case, that could impede the sense of motion; that a particular piece of fruit (pause), seemed so perfect in structure that it somehow seemed to be frozen within it, and could not roll.

[... 1 paragraph ...]

There is an old nursery rhyme (pause), that you heard as a child. I cannot get it clearly, something like Tom Tucker with his thumb, and the next line had to do with a plum. (Pause.) This was part of the association leading to the dream. As mentioned, Ruburt’s interpretation was correct. The climbing up was also connected with fruit, as you might climb a tree to pluck it. (Pause.) There were no health connotations to the dream, it did not have that kind of meaning. You recognized your fear when you saw it in the dream as objectified on your thumb, and then you allowed it to disappear.

(I asked about which painting was involved because I wanted to be clear about the two most recent I’ve been working on. Seth verified that the little still life of fruit is the one concerned. The October 9 date would be, I believe, either the day I began this painting, or shortly after I started it. The data is very good, and is presented in a way in which Jane does not consciously—at least—think. I was concerned about form in this painting, and this concern, linked up with composition, gave me quite a little tussle in this painting. Form and composition usually are easy for me.

[... 7 paragraphs ...]

(“Just briefly: What do you think of that little painting of the trees I did?” This is why, earlier, I asked Seth which painting the dream referred to; I was just finishing up this painting while beginning the fruit still life, on October 9.)

[... 18 paragraphs ...]

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