“Seth material” search engine (Jane Roberts)

There are multitudinous themes interbound in any society at any given time, and they are all related. There is meaning in all of them. In the eras of the great artists, civilization was united by a series of revelations, ideas and also distortions. The artist was an important part of his society.

(I was very facile—so much so that a large part of my early work consisted of finishing off the work of others so that it would reproduce well. In the comic trade I was an “inker,” and had more work available than I could handle. I also made a lot of money at an early age, in those days before high taxes. A comparable income now would amount to several hundred dollars a week.)

You did not chose that easy way for a reason. You knew you were preparing yourself, but the time of preparation was extended beyond what it need have been. (9:20.)

The psychic developments are also interbound in your own work, because you doubted yourself the preparation time was extended by you. The final period was and is to be one in which your energies are directed to your work without the outside job, for finally you began to feel that you were not doing what you should do; this itself inhibited your trust in yourself further, and therefore the development of your work.

Trust between you and Ruburt was also a prerequisite according to your own plans, set earlier. The impetus to help you is a built-in one, also meant as a further stimulus to Ruburt in his work and in our work. Already the energies of your natures are beginning to regroup. You have therefore a firm foundation from which to begin your endeavors as long as you understand and believe that you have.

Now. The inhibition you were enforcing upon yourself by working outside was reflected in your work inevitably, as soon as you became aware that the course no longer served its purpose. You were not one with yourself or with your course of action. You were somewhat apart from yourself then.

(This is excellent material, as I told Jane. I explained to her after the session that I wasn’t sure about the reference to purple or violet, which I seldom use directly because they are hard to integrate into a painting—at least for me. By the next day, I may know why Seth made the reference. The reds I use, being cadmiums, can take on a decided violet cast when mixed with white. This must be kept under control. The painting I am working on now features a cadmium red shirt on the subject, and has given me some trouble because of its tendency to turn purplish if not watched; since Jane has seen me at work on this portrait often, she may have picked this up, although I haven’t mentioned it to her. I did explain to her before the session my dislike of too brown a cast to features—this was one of the points we discussed, as mentioned earlier.

It is indeed an ancient covenant. It is a translation of many manuscripts that have appeared and disappeared throughout the ages. In your terms the initial statement was a physical reminder of a covenant already made before spirit was made flesh.

You and Ruburt made it, in your terms now, together. You wanted to remind him of its importance. You have been Sumari together; you are now. Some of Ruburt’s early poetry about the two of you was a reflection of that knowledge.

It was because of this that you decided beforehand on the development of the sessions. There are rites (spelled) that were used in various civilizations to stand as ceremonial reminders of this covenant. The Incas knew some of these. Christ knew them, but they were thrown away by his followers. The Hebrews knew but distorted the information. The Lumanians knew, but tried to override the body.

(“How could I write this covenant in Sumari when I didn’t know what I was writing? I’ve wondered about this before. It’s so easy, yet I couldn’t do it in English.”)