“Seth material” search engine (Jane Roberts)

(Jane was ready for the session at 8:45, so we sat for it in our bedroom for extra privacy. Seth didn’t appear; however, although Jane said she felt him around at various times. Finally at 9:15 she said “I’ve been set up. Instead of telling us about it, Seth’s letting me feel the emotions of that young girl you were involved with when you were Nebene, at the time of Christ....” This was in or near Constantinople. The girl’s name was Sharabena, and she was Jane in that life as I was Nebene.

(See the deleted session for July 19, 1972. Now Jane looked rather uncomfortable. She said little at first, though I could tell she was recalling material from that past relationship. Actually the relationship in question, while called a reincarnational one, is a parallel one to our own. It is happening now, not two thousand years ago. Whenever I mention a “past life,” this is what I actually mean. Jane also endorses this idea.

(The following material is taken from notes I made at the time, and memory. It wasn’t recorded because we weren’t prepared. Jane spoke too rapidly much of the time for verbatim notes also. Consequently what is cited isn’t in order, either, although this doesn’t seem important in this case. “We were called Zaphorites then, “ Jane said. “I feel like yelling and kicking.” She kicked my foot very lightly. I was prepared if she did go into a rage, but this didn’t develop. “I was part of that cult Seth told you about last time...you know where it was. You really had no use for me or for yourself, while we were together,” she said. “You hated yourself but you couldn’t stay away from me.”

(“Why, I was really beautiful then...I used to pee on our robes—I ripped them off us,” she said, “when we were alone. You wanted me to. But you wouldn’t be seen in public with me, you kept the whole thing secret. You were ashamed to be seen with me—just like you got ashamed to be seen with me now, after I got my symptoms.... I even loved you then, too, like I do now.”

(Jane displayed mild symptoms of anger and resentment, which grew somewhat more vehement at times. She also smiled. “Why, that’s where Sumari came from. Don’t you see? I sang and I danced.” In here she sang some Sumari songs. I thought them especially beautiful. They weren’t loud but very melodious and softly syllabled. In between the songs she spoke to me in Sumari. During these episodes I could follow the meanings quite easily; ritual was involved, as well as passion. Listening, I felt a marked regret, and wondered that this other life had seemingly assumed such a strong place in our “own” lives. I asked Jane about this later.

(“I was so beautiful, then, “ she said, “so perfect physically that I relied on that. I disdained anyone who wasn’t physically perfect. I paid no attention to the beggars, or people who showed imperfection...I used to taunt you. I came to your school once: I sashayed around your classes and you just about hit the ceiling....”

(“I’m ready to quit getting even now if you are,” Jane said in answer to a question of mine. “Now, I get the messages and you have to write them down, whereas before you had the ancient records and made the copies yourself. I wasn’t needed, in that way. But I was spontaneous, like I am now, and you needed that then just like you do now,” she said with emphasis. “You were very rigid in the way you made lines, in your work. It’s like it was all black and white then. This time though you’re adding to the lines, and I wanted to be here when you put flesh on them through your painting.”

(There was more, of course, that I didn’t get down, or recall, but it would follow the same vein. It was very revealing. It served to make me think anew that when such memories are recalled consciously, then those involved are compelled to deal with them. I felt a strong depression and regret, as stated before; I could have asked more questions. I didn’t feel like defending myself very often. In answer to a question, Jane said that although reincarnational data would remain buried in many cases, it would still have to be dealt with, worked out in the present life in present terms.

The commercial art served your emotions quite simply. It allowed you to release your emotions in stereotyped impersonal ways. Some situations, drawn, might be of highly charged areas—the Spillane strips, for example—yet the release of the emotion was stereotyped. You knew that one of Ruburt’s purposes would be to insist upon the expression of your emotions to him personally. Because of other life aspects you knew this.

The main problem being the emotional rapport. Now while this has shown itself in Ruburt’s symptoms, it also showed itself in your work. Yet it was not your problem alone, but a challenge for both of you, as stated earlier in the session. It is important that you see that clearly also, so if you have questions on it ask me when you read this over.

Now, I bid you a fond good evening—and the early part of the session was under my auspices.

(“Yes. Thank you very much, Seth. It was very good, and much appreciated. Good night.” 11:00 PM.)