“Seth material” search engine (Jane Roberts)

(Before the session tonight I said I was curious about Seth’s interpretation of my dream of October 9. This will be given in the appropriate place in the text. Jane said that Seth was going to talk about the electromagnetic units discussed in the last session—she could “feel him buzzing around.”)

Their characteristics draw them toward constant interchange. Clumps of them—(Jane gestured; her delivery was quite emphatic and animated,) will be drawn together, literally sealed, only to drop away and disperse once more.

(10:10. Jane’s delivery throughout was quite emphatic and animated, even though with many pauses. Her trance had been very good.

(Here is my dream of October 9, that I asked Seth interpret: “Color. I dreamed that I had a cancerous wart or nodule right at the tip of my right thumb, where it bothered me to hold a brush or pencil. Had been there a long time. I believe a doctor told me it was cancer—not very dangerous, could be removed in his office. I had to climb up a long ladder set against a building wall to get to the doctor and even as I talked to him I had to stand below him and look up. He was dominant, round-faced with thick glasses. Wore a white coat, I believe, and peered down at me like an owl.”

(“Then the thumb was clear. I examined it, and didn’t need an operation.”

The fear was of an overreliance upon structure. This occurred to you one afternoon, three days before the dream, as you were working.

(“Do you know which painting I was working on?”)

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.

You ignored the feeling, and there may have been a slight physical symptom at the same time for this reason. This may have involved a plum—I believe it did, and this was somewhat connected in leading you to thumb in your dream.

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.

(Note that the dream came after I had resolved some of the above-mentioned problems. I was still somewhat uneasy about the decisions I had reached by October 9, but decided to go ahead anyhow, that I was belaboring what were probably rather innocuous points by that time.)

The doctor, the figure, represented your artistic intuitional creative self, your potential self in those terms, to whom you looked for advice and help. You had to climb up, symbolically, but the ladder you see was one-directional rather than crooked, and this shows that the road is clear.

Also, there was someone at the top of the ladder, indicating both the source and the potential of your abilities, also their uplifting tendencies. Had no one been there, you would have been in trouble. You were also making your own way up the ladder, this indicating your knowledge that your own efforts are involved.

(“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.)

I do not mean a big issue, but a very unique contribution. If a particular person’s face was a landscape, what kind of a landscape would it be, for example? Even the planes of the face themselves can suggest mountains or valleys. But beyond this in deeper terms, how would that face be translated if it were not a face but a landscape? What time of day would it suggest? What kind (underlined) of landscape, desert or mountainous, and so forth?

Ruburt will do well on the rest of his book. I told him he was more relieved than he knew, and good evening.