“Seth material” search engine (Jane Roberts)

Now. We will divide the session into two parts, although they may or may not be equal parts.

Instead you get to the point where the emotion barely surfaces and you say “Oh, yes, that came from such and such.” This applies now to both of you. Now you both handled emotional situations involving you both more or less in the same manner. You still do not want to feel and counter the emotions on their level.

You want to do anything with the emotions but feel them. Write about them, paint them, talk about them, anything but feel them. Do you see the difference now?

This operates as strongly for you as Ruburt. You have seen him in a very few honest expressions of anger, once when he tried to throw a chair, and felt the suddenly released energy that he usually does not channel physically. That same unexpressed energy is present within you, but it must be felt first, and acknowledged. If you have questions ask them. Now. I mentioned, and you realize the significance of Ruburt turning down the radio when you enter the room. He tried to turn his emotions down in the same way. He felt you equated noise, period, with emotional behavior.

Then we will return to other material. (9:35.) Let me add, before your break, a few other remarks to this portion. The very fact that you now must take time out for the clear expression of emotion is telling, in itself. Once you learn, you will express your emotions freely as you go about your day.

(I told her in turn, and believe she agreed, that all phases of our lives were changing, that it was vital that they do so, since the way of life we had worked out was doing so poorly. This included my painting, my job at Artistic, my attitudes about money, classes—in short everything I could think of, I guess. I’m not so sure Jane would lump all of her activities together in the same way, though – she may not feel the need. I strongly suspected my days at Artistic were numbered; especially so since we now planned a long trip early next year, after taking care of checking the copyreading Prentice-Hall is now doing on Seth Speaks; we are due to get the script back in January.

Now. In our sessions and in your work with me, various kinds of teaching methods have been used, and will be. Steps and bridges will be provided.

Other physical manipulations may also be involved, as Ruburt suspected this afternoon. The word cordella, now for example, was used instead of alphabet to break your ordinary conceptions of alphabet while conveying an idea of symbols closely allied, and upon which alphabets are based.

Now. Do you remember the word given for painting?

(As Seth, Jane referred now to the Sumari language session we held on Wednesday, December 1, in place of the regular session. As I sat on the couch in our living room, my oil painting of Ianodiala, the 14th century Turkish clairvoyant, hung on the wall behind me. This is the painting Jane had used as a teaching instrument on Dec. 1, and referred to again now.

Now our sessions have always involved methods of perception, and the translation of inner experience. The sessions themselves deal with experiences that are basically not verbal but must be physically translated. Translations go on of which you are not aware whether or not you perceive them, and whether or not you are affected. They are simply the results of such activity intruding into a physical montella.

Now do you see how the word used in that manner tells you something different?

If new ambrya—think of embryo now—(in parentheses now:) data were to be inserted into a painting, a completed painting, from the inside, then all the relationships within the painting would change. If new ambrya is inserted into a physical montella then all the relationships within it must change. (Pause.)